{"id":112,"date":"2026-05-18T04:13:18","date_gmt":"2026-05-18T04:13:18","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=112"},"modified":"2026-05-18T04:13:18","modified_gmt":"2026-05-18T04:13:18","slug":"kiyoshi-kurosawa-has-finally-made-his-samurai-movie","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=112","title":{"rendered":"Kiyoshi Kurosawa Has Finally Made His Samurai Movie"},"content":{"rendered":"
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\n\tIf there\u2019s a great crime of recent world cinema, it\u2019s that Kiyoshi Kurosawa hasn\u2019t been granted bigger budgets. The 70-year-old Japanese auteur has consistently spun masterful moviemaking from a relative shoestring over the four and a half decades of his prolific and deeply influential career.<\/p>\n

Read more \u2018Hope\u2019 Review: Korean Action Maestro Na Hong-jin\u2019s Rip-Roaring Sci-Fi Creature Feature Has Instant Cult Classic Written All Over It<\/a><\/p>\n

\n\tKurosawa has explored genres with a restlessness and inventiveness few directors of his generation can match: from the now-classic serial killer procedural Cure<\/em> (1997) to the dread-soaked J-horror landmark Pulse<\/em> (2001), the lacerating family drama Tokyo Sonata<\/em> (Cannes\u2019 Un Certain Regard Jury Prize winner of 2008), the haunting wartime mystery Wife of a Spy<\/em> (best director at Venice in 2020), and most recently Cloud<\/em>, the psychological action film that landed on numerous critics\u2019 2025 best-of lists. In nearly every case, he has worked on production budgets that would barely cover the catering costs on a Hollywood feature of comparable ambition.<\/p>\n

\n\tKurosawa came of age during an era of sharp contraction for the Japanese film business, after the rise of television had eroded the dominance of the country\u2019s once-fabled movie studios. The film business responded to the period\u2019s challenges with the rise of \u201cpink eiga,\u201d a soft-core erotic genre that trafficked in the nudity and violence that couldn\u2019t be shown on TV, becoming one of Japan\u2019s most bankable production engines through the 1970s and into the 1980s. The genre also proved an unexpectedly fertile training ground for a generation of Japanese directors \u2014 among them future Oscar winner Yojiro Takita (Departures<\/em>), Masayuki Suo (Shall We Dance?<\/em>), Koji Wakamatsu \u2014 and Kurosawa, whose 1983 feature debut Kandagawa Pervert Wars<\/em> was characteristically trashy but also a highly film-literate riff on Rear Window<\/em> by Hitchcock, the filmmaker who would later come to be seen as his greatest influence.<\/p>\n

\n\tIt was Cure<\/em>, though, that eventually announced Kurosawa as a singular voice in world cinema. A beguiling, hypnotic study of a Tokyo detective (the great Koji Yakusho) investigating a series of murders committed by ordinary people who can\u2019t seem to explain what made them do it, the film was made for less than $1 million and performed poorly upon its release in Japan, but steadily grew in global reputation over the nearly three decades since its release. As fans of the Criterion Closet will well know, it has been regularly hailed as a landmark: Bong Joon Ho has ranked it among the 10 greatest films of all time, and Ari Aster once said, \u201cThere is an argument to be made that Cure<\/em>, by Kiyoshi Kurosawa, is the greatest movie ever made.\u201d<\/p>\n

\n\tIn the intervening years, Kurosawa has also extended his imprint on Japanese cinema as a teacher. During his time as a professor of film studies at Tokyo University of the Arts, he taught two aspiring filmmakers who grew into some of Japan\u2019s most accomplished new voices: Ry\u00fbsuke Hamaguchi, whose Drive My Car<\/em> won the best international feature Oscar in 2022, and Koji Fukada, whose 2016 drama Harmonium<\/em> won the Un Certain Regard Jury Prize at Cannes. Both are in competition for the Palme d\u2019Or this year, with films that have drawn some of the festival\u2019s strongest early reviews: Hamaguchi\u2019s All of a Sudden<\/em> and Fukada\u2019s Nagi Notes<\/em>.<\/p>\n

\n\t\u201cKiyoshi Kurosawa has this ability to tell incredibly powerful stories solely through the way he works with moving images \u2014 without even trying to peer into a character\u2019s mind by the use of dialogue. He\u2019s a pure filmmaker,\u201d Fukada tells The Hollywood Reporter<\/em>. \u201cEvery student wants to compete with their teacher one day, but I realized early on that there was no way I would ever surpass him if I tried to make movies the way he does. So I had to go away and develop my own style \u2014 which is something he allowed and encouraged me to do. I\u2019ve loved his films since I was a teenager, but I also really credit him with helping me find my own voice.\u201d<\/p>\n

\n\t\u201cAnd I don\u2019t think I\u2019ll ever surpass him, by the way,\u201d Fukada adds.<\/p>\n

\n\tThe master will be side by side with his star pupils in Cannes this year \u2014 and although his own film is showing in the festival\u2019s Cannes Premieres section rather than the main competition, it will arrive as a long-hoped-for event among international film buffs.<\/p>\n

\n\tKurosawa\u2019s new film fills a conspicuous absence in his diverse filmography: For roughly his 30th feature, he has finally made a classic samurai movie.<\/p>\n

\n\tThe new feature, The Samurai and the Prisoner<\/em>, is set in 16th century Japan during the late Sengoku, or Warring States, period, and adapted from Honobu Yonezawa\u2019s Naoki Prize-winning 2021 novel of the same name. The story follows Lord Araki Murashige (played by Departures<\/em> star Masahiro Motoki), a real-life vassal of the tyrannical warlord Oda Nobunaga who rose in rebellion against his master in 1578 and barricaded himself inside his stronghold, Arioka Castle. As Oda\u2019s army closes in from outside, a young samurai is murdered within the castle walls, triggering a cascade of bizarre incidents that throw the fortress into paranoia and suspicion. With traitors potentially among his most trusted retainers, Murashige is forced into an uneasy alliance with Kanbei Kuroda \u2014 a brilliant but dangerous strategist whom he himself has thrown into the castle dungeon, played by Masaki Suda, the memorable lead of last year\u2019s Cloud<\/em>. The ensemble also features Yuriko Yoshitaka, Munetaka Aoki, Ryota Miyadate, Tasuku Emoto and Joe Odagiri. Kurosawa wrote the adaptation himself, and the film is produced by 130-year-old Japanese studio Shochiku in association with Tokyo Broadcasting System Television.<\/p>\n

\n\tChatting with THR<\/em> prior to Cannes in Tokyo, Kurosawa joked that the reason he hadn\u2019t made a samurai film until now wasn\u2019t because of any trepidation over the fact that the genre is so closely associated with the classic Japanese director with whom he happens to share a family name. On the contrary, he says \u2014 the looming international reputation of Akira Kurosawa has been a benefit rather than a burden to him. \u201cFrom the start of my career, whenever I went overseas, people wondered if I was related to Akira Kurosawa,\u201d he says. \u201cI\u2019m not related to him at all \u2014 but once they heard my name, they always remembered me.\u201d<\/p>\n

\n\tThe real reason, Kurosawa says, is more prosaic and predictable: money. He had long wanted to make a jidaigeki (Japan\u2019s traditional genre of pre-modern period drama), but only if he could do so in the classical mode he had grown up loving \u2014 and the kind of sets, locations, wigs, makeup and costumes that mode requires had never been within reach of his usual budgets.<\/p>\n

\n\t\u201cI\u2019ve always had this desire to make a jidaigeki film one day, but to do so nowadays takes a lot of money \u2014 expensive sets and locations; wigs, makeup and costumes \u2014 and I just never really had the opportunity given to me until now,\u201d he says.<\/p>\n

\n\tHe adds: \u201cThere are still many jidaigeki being made today, especially on Japanese TV, but most of them have been modernized in one way or another \u2014 through the costumes, the dialogue, the cinematography. Those modernized versions can be fun in their own way, but for me, for my first attempt at a jidaigeki, I wanted to try a classical style, in the similar style of the great older films that came before me.\u201d<\/p>\n

\n\tBefore production, Kurosawa spent some time revisiting many of the great Japanese jidaigeki of the 1950s and \u201960s. He began, naturally, with the elder Kurosawa. He says that Throne of Blood<\/em>, Akira Kurosawa\u2019s samurai riff on Macbeth<\/em>, was especially instructive. \u201cIt was a really great film for thinking about the Warring States period \u2014 the Sengoku Jidai \u2014 but also because it involves lots of conversations between warlords, and between the lead character and his wife. There\u2019s a lot of interior talking in my film, so those were good references for me.\u201d He also returned to the work of Masaki Kobayashi, the director of Seppuku<\/em>, whose camera lingers so often within fortified interiors; and to Kenji Mizoguchi\u2019s The 47 Ronin<\/em> \u2014 set in a later era, but instructive for its handling of confined domestic space and ritual in pre-modern Japan.<\/p>\n

Read more How Bad Bunny Inspired Artist Edra Soto\u2019s Plastic Chairs Art<\/a><\/p>\n

\n\tKurosawa seriously considered shooting Samurai and the Prisoner<\/em> in black and white, the format of so many of the classics he was drawing from, but settled instead on a richly shadowed, high-contrast use of color \u2014 and on European Vista, an aspect ratio narrower than CinemaScope but wider than the standard Academy format of the post-war period dramas he loves. He worked closely with cinematographer Yasuyuki Sasaki, whose work can also be seen in Cannes this year in Yukiko Sode\u2019s accomplished Un Certain Regard entry All the Lovers in the Night<\/em>. \u201cWhat is interesting about the great black-and-white films I was watching is the way that they showed a lot of the drama through the play of light and shadow,\u201d Kurosawa says. \u201cI wanted to show the same thing, but with color.\u201d<\/p>\n

\n\tThe most surprising difficulty of the production, he says, was a question more subtle than issues of technical craft: how 16th century Japanese characters would actually move, speak and behave outside the formal cadences of the script\u2019s old-style dialogue. The dialogue itself drove most scenes, but the space between them was hard for the director \u2014 who, until now, had always worked in modern times \u2014 to picture. \u201cHow did they talk in their daily lives? How did they move? What was their way of being? That was something I had a very hard time imagining,\u201d he says.<\/p>\n

\n\tHe came to see the historical gap as one of the genre\u2019s defining challenges \u2014 and, eventually, as one of its most exciting mysteries. \u201cThere was just no way of knowing, but we still had to do it. For me as a director, and also for the actors, it was in some sense a very thrilling experience. The sense of normalcy we work with in modern times doesn\u2019t apply. Reality is simply very different in a jidaigeki than in a modern piece.\u201d<\/p>\n

\n\tMany of the great Japanese samurai films of the post-war era are, in a sense, anti-samurai films \u2014 sustained interrogations of the cruelty, hypocrisy or human cost of the bushido code. This tradition runs at least from Kobayashi\u2019s Seppuku<\/em> through Yoji Yamada\u2019s The Twilight Samurai<\/em>. Asked about that alternate lineage, Kurosawa says he hadn\u2019t framed the film that way consciously, but now sees it as part of this tradition. \u201cIt is definitely an anti-samurai film,\u201d he says. \u201cIt\u2019s very anti- the values represented by bushido. I was depicting a protagonist who resists those values, escapes them and ultimately becomes free of these rules.\u201d<\/p>\n

\n\tThe Murashige of Yonezawa\u2019s novel \u2014 and of Kurosawa\u2019s film \u2014 is unusual for the genre: a lord and tactician who is also a lover of poetry and the tea ceremony, and who has come to despise the killing that the samurai life demands. The timeliness of the film\u2019s pacifist message \u2014 amid a moment of widening global conflict \u2014 was part of the project\u2019s appeal, he says.<\/p>\n

\n\t\u201cThere is this very simple thought that exists fundamentally in this character \u2014 that he didn\u2019t want to do any more killing \u2014 and I felt that was a very fresh take, and something that does speak to today,\u201d he says.<\/p>\n

\n\tBut it was the second arc and message of the story that intrigued him most. \u201cIt\u2019s also about a person who was originally moved by a lot of desire for power and authority, but then decides to abandon all of it, and through that wins a new kind of freedom,\u201d he says. \u201cThis isn\u2019t only about people in power. People living today \u2014 myself included \u2014 tend to be moved by different kinds of desires: making money, building a reputation, attaining influence. But what happens when you look away from all of these at once and find a new way to live? That\u2019s the action Murashige takes in the end, and to me, that was very interesting.\u201d<\/p>\n

\n\tAt 70 and nearly three dozen features deep, with another now in Cannes, Kurosawa says he remains unsatisfied \u2014 both with his body of work and his country\u2019s movie output as a whole.<\/p>\n

\n\t\u201cJapanese filmmakers \u2014 and I include myself \u2014 have gotten very good at making films that identify universal themes in aspects of everyday life. But I question how much we are really engaging with the spirit of our times, tackling the fundamental issues that Japanese society is going through,\u201d he says. \u201cAre we actually able to use our current situation as a kind of fuel, and turn it into cinema?\u201d<\/p>\n

\n\tThe auteur says he\u2019s belatedly been catching up on last year\u2019s U.S. awards contenders \u2014 Paul Thomas Anderson\u2019s One Battle After Another<\/em>, Ryan Coogler\u2019s Sinners<\/em> and Maggie Gyllenhaal\u2019s The Bride!<\/em> \u2014 and that he\u2019s found himself newly galvanized by the social urgency he\u2019s found there.<\/p>\n

\n\t\u201cIn my opinion, none of these are quite perfect movies,\u201d he says. \u201cEach is a little imbalanced in its own way. I feel a certain distance between what they attempted to do and what they ended up expressing. But there is a vitality to their attempt to engage with the fundamental problems they see in American society and to make really entertaining cinema out of that. Japanese cinema in the 1950s and \u201960s once did this, too. If we can find that impetus again, we\u2019ll be able to say our film culture has entered a wonderful new era.\u201d<\/p>\n

\n\tHe adds: \u201cI want to urge Japanese directors to pursue this kind of filmmaking \u2014 and I include myself, alongside the younger filmmakers who are going to Cannes with me this year. That\u2019s a desire I still have, even at my age, with the energy I have left.\u201d<\/p>\n

Read more Why Scarlett Johansson Dodged James Gray\u2019s Cannes FaceTime Call<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Japanese auteur arrives at Cannes with castle thriller ‘The Samurai and the Prisoner’ \u2014 and two of his most celebrated students, Ryusuke Hamaguchi and Koji Fukada, competing for the Palme d\u2019Or beside him.<\/p>\n","protected":false},"author":1,"featured_media":111,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[8,2],"class_list":["post-112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes-2026","tag-international"],"yoast_head":"\nKiyoshi Kurosawa Has Finally Made His Samurai Movie - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=112\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kiyoshi Kurosawa Has Finally Made His Samurai Movie - 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