Recommended Top 10: Daisuke Miyazaki [JP/ENG]

“On the day that I saw this movie, I was ‘ordered’ to fight, during my entire life, with divine violence.”


Daisuke Miyazaki, director of Yamato (California) (2006), and, more recently, Tourism (2018) accepted our invitation to provide his recommend top 10 Japanese movies. In a rather evocative style – a style often creating more questions than answers – he entices us to visit well-known monuments of Japanese cinema as well as hidden gems, waiting to be discovered.



The only thing I can say about these movies is that it is impossible to describe which kind of movie each movie is, so, please watch. ([The movies I chose are] in chronological order.)

Recommended top 10

27729id_449_010_primary_w1600The Story of the Last Chrysanthemum [残菊物語] (1939) by Kenji Mizuguchi.

わたしにとって日本映画のはじまりは溝口健二とあの川下りの彼岸であるから。 山中貞雄の描く彼岸も捨てがたいが。

For me, Japanese cinema starts with Kenji Mizuguchi and in the emotion of that scene of going down the river. [Furthermore,] it is difficult to discard the philosophy and the emotion of Sadao Yamanaka.

Akitsu Springs [秋津温泉] (1962) by Yoshishige Yoshida.

vlcsnap-2018-04-19-15h52m04s756情事からネイションへ、ミクロからマクロへ。 ややこしいことはさておき、これ以上女優を決定的に美しく撮った映画をわたしは他に知らない。

From love affair to nation, from micro to macro. Apart from the puzzling things, I do not know any other movie that filmed an actress [i.e. Mariko Okada] so decisively beautiful.

Tokyo Drifter [東京流れ者] (1966) by Seijun Suzuki


A kind of schizophrenic colouring, a distorted but strangely stable frame, and then a shot intensity that will never emerge again.

Sing a Song of Sex [日本春歌考] (1967) by Nagisa Oshimasing4_zpsbca88bef


On the day that I saw this movie, I was ‘ordered’ to fight, during my entire life, with divine violence.

Misuta, Misesu, Misu Ronri [ミスター・ミセス・ミス・ロンリー] (1980) by Tatsumi Kumashiro.


A movie that tickles the tip of the nose, and then the softness of an individual. A movie director should manipulate actors and must successively be manipulated by the actors.

Sonatine [ソナチネ] (1993) by Takeshi Kitanosonatine1

シーンは必ずしもショットの融合体ではないが、映画は単なるシーンの融合体である。 つまりこれは純粋映画だ。

A scene is not necessarily a merging of shots, but a movie is but a simple fusion of scenes. This is a pure movie.

Jesus in Nirvana [百年の絶唱] (1998) by Kishū Izuchi

説話構造の唯物的音楽的脱構築。 エディ・ヘイゼルのギターに呪われはや二十年近くが経った。
The narrative framework is deconstructed by materialism and music. I was cursed by Eddie Hazel’s guitar and [since then]nalmost twenty years have passed .
Eureka [ユリイカ] (2000) by Shinji Aoyama
eureka2クロマティック・ブラック&ホワイト色の金字塔。 いつもわたしを見ているモノリス。
A chromatic, black & white colored monumental achievement. It is a monolith that is always watching me.
Pulse [回路] (2001) by Kiyoshi Kurosawa
pulse-2001-1140x600世紀末に一度、日本はこの映画の中で滅亡している。 2000年代、2010年代を覆う中心の暗渠。
In this film, at one time, at the end of the century, Japan is destroyed. The void center is still spreading in the 2000’s and 2010’s.
Kamemushi [亀虫] (2003) by Masanori Tominaga
The birth of cool in Japanese movies. Any “film” must be absolutely cool.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s