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Rashomon (1950). Film No. 12 in the films of Akira Kurosawa is the first internationally successful Japanese film at a time when the country began to emerge from the ruin brought by the end of World War 2. The film is about the difficult status of truth. Four characters tell one violent incident from their point of view. Everyone seems to tell the truth but everyone can lie. Innovative for its time, with those fhash false back and a voice-over unreliable. One of the most influential works of the History of Cinema, was the fifth collaboration Kurosawa with the great Toshiro Mifune, his favorite actor.
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Living (1952). The official Watanabe, patient and aware that his end was near, he realizes he has lived shut up in itself and has not done anything for others, then nothing will remain of him when he dies. Distraught and alone, seeks to give meaning to their lives end. Movie funeral, deep reflection on life and death as he speaks, not so much the gap to its proximity and the fear of not having lived long enough. Memorable final scene with the dying Takashi Shimura singing a song remembers his wife, while balancing on a swing in the park.
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The Seven Samurai (1954). Cinematic storytelling at its best. The clearest sense and ethical epic Japanese director. The story of the 7 Samurai, collected by the villagers to defend themselves from bandits, will influence the American cinema from the 60, there's his travel to the western world by John Sturges with
The Magnificent Seven. With this film, Kurosawa began to use multiple shooting method cameras at once, especially in the fight scenes.
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Dersu Uzala (1975). His first shoot outside of Japan, in a strange language and Japanese actors, a coproduction with the Soviet Union based on the life of the military explorer Vladimir Arseniev Russian ethnographer. It is the story of his friendship with Dersu Uzala, a taiga hunter guide that makes it. Filmed in long shots, little dialogue, with austerity cleaning and formal, is constructed through a flashback to the narrator's voice (Arseniev) that the dead man's grave, recalls his friendship. The film contrasts two opposing characters, one that represents the reason and order, and another, intuition and connection with nature, and narrated in terms Kurosawa harmonics and naturalists.
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Ran (1985). Freely adapted from Shakespeare's King Lear to the History of Japan. Shot with big media, thanks to the contribution of the French producer Serge Silberman, and a huge formal freedom and attention by the visual elements of the story. In the war sequences, blood literally flooded the characters, creating a brutal contrast to the colors of your armor. Reflection on power and its perpetuation full of insight and wisdom.