Last weekend the latest Grammy Awards were announced, including the following film music-related categories:
BEST SCORE SOUNDTRACK FOR VISUAL MEDIA
La La Land - Justin Hurwitz
BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA
La La Land - Various Artists
BEST SONG WRITTEN FOR VISUAL MEDIA
"How Far I'll Go" [from Moana] - Lin-Manuel Miranda
John Williams won the Best Arrangement, Instrumental or A Cappella Grammy for his "Escapades For Alto Saxophone And Orchestra From Catch Me If You Can," while Randy Newman won Best Arrangement, Instruments and Vocals for his song "Putin."
JOHN MORRIS 1926 - 2018
John Morris was born in Elizabeth, New Jersey, on October 18, 1926. He began playing the piano at the age of three, and studied throughout his childhood in Independence, Kansas, before pursuing advanced studies in New York at the Julliard School and The New School for Social Research. Through the 1950s and 60s he was regularly employed in the Broadway theater, providing dance arrangements for such musicals as Pipe Dream, Bells Are Ringing, Bye Bye Birdie and Sherry! (the short-lived musical version of The Man Who Came to Dinner, with songs by the unlikely team of Laurence Rosenthal and James Lipton) as well as serving as Musical Director for Wildcat and All American.
He had what should have been his creative breakthrough with the 1966 Broadway musical A Time for Singing, an adaptation of the classic How Green Was My Valley, for which Morris not only composed the music but also co-wrote the lyrics and book (with its director, Gerald Freedman). The show benefited from a first-rate song score (given that one of the songs is titled “How Green Was My Valley,” it’s a mystery that the producers felt the need to change the show’s title from the familiar original), but the show had trouble finding its footing in the competitive Broadway market, lacking big name stars -- in retrospect, its most well-known cast members were Harryhausen regular Laurence Naismith as the father (the role that won Donald Crisp an Oscar for the film verison) and future Oliver! star Shani Wallis as Angharad (Maureen O’Hara in the film) -- and the show ran for only 41 performances. Fortunately, the cast album was released on LP, and Kritzerland re-released it on a still-in-print CD in 2013.
The most important creative partnership of Morris’ life began when he met comedy writer Mel Brooks during the production of the TV classic Your Show of Shows, and the pair found themselves collaborating in 1957 when they were each brought in to help “fix” the Broadway musical Shinbone Alley, with Eddie Bracken as a cockroach named archy and Eartha Kitt as an alley cat named mehitabel. Based on the New York Tribune columns by Don Marquis, it only lasted 49 performances but was the basis of a little-seen animated feature in 1970, with the voices of Bracken and Carol Channing.
Despite the failure of Shinbone Alley, Brooks respected his musical collaborator enough to hire him for his feature directing debut in 1968. The end result, The Producers, is still considered one of Brooks’ greatest works, earning him an Oscar for its original screenplay (and a Supporting Actor nomination for Gene Wilder in his breakthrough performance), and later inspiring the blockbuster Broadway musical.
Morris and Brooks would ultimately collaborate on nine features (with Brooks as director), which demonstrated the composer’s expertise at working in a variety of styles, as well as showing his effortlessly deft touch at the always underappreciated craft of comedy scoring. Highlights of their work together include Blazing Saddles, whose straight-faced parody main title song earned the team an Oscar nomination, the first for Morris; Young Frankenstein, whose “Transylvanian Lullaby” main theme was one of the composer’s most memorable compositions; and Silent Movie, for which Morris labored six weeks to furnish 130 cues for the through-composed comedy, and was shortlisted for an Oscar nomination.
Their pairing led to other assignments for Morris -- he scored all four of the features directed by Gene Wilder, and was even Oscar short-listed for Wilder’s debut feature, The Adventure of Sherlock Holmes’ Smarter Brother, as well as both films directed by Marty Feldman, The Last Remake of Beau Geste and In God We Trust. Brooks’ own production company Brooksfilms had an eclectic lineup of features, and for them Morris scored the remake of To Be or Not To Be (a starring vehicle for Brooks and his late wife, the legendary Anne Bancroft), the little-seen period thriller The Doctor and the Devils and, most memorably David Lynch’s The Elephant Man, which earned Morris his only Oscar nomination for Original Score.
His collaboration with Brooks ended after 1991’s Life Stinks. According to the composer, “first of all, in terms of the schedule, I am a morning person. He is an evening person. I had an apartment in California and Mel would call up and tell me he's coming over at eight o'clock at night. But, he doesn't come over at eight. He comes over at nine thirty. I had to play things for him and people in the building would want to go to sleep. It just got to be nuts!”
The success of their partnership meant that Morris was most often hired for comedy projects, such as Bank Shot, The In-Laws, Johnny Dangerously, Yellowbeard, and the cult favorite Clue, but he was fortunately given the chance to show off his talents in a variety of genres on both the large and small screen, on such projects as the PBS productions The Adams Chronicles and The Scarlet Letter, the beloved Dirty Dancing, the Gone with the Wind miniseries sequel Scarlett, and the Oscar-nominated (for stars Jack Nicholson and Meryl Streep) Depression drama Ironweed. While too few of Morris’s scores resulted in soundtrack albums at the time of their films’ releases, the boom in archival soundtracks has led to several previously unavailable scores coming out on CD, including Blazing Saddles, The In-Laws and Clue.
Morris died last Thursday at his home in Red Hook, New York at the age of 91. His son Evan, who had worked with his father as an orchestrator on several projects, died in 2014 at the age of 60, but Morris is survived by his wife, a daughter, five grandchildren and two great-grandchildren.
Much of the information in this obituary comes from a 1997 interview with the composer, conducted by Jeffrey K. Howard and published on this website in 2001 in two parts.
CDS AVAILABLE THIS WEEK
In the Fade - Joshua Homme - Milan
The Mercy - Johann Johannsson - Deutsche Grammophon
Saw Anthology vol. 1 - Charlie Clouser - Lakeshore
Saw Anthology vol. 2 - Charlie Clouser - Lakeshore
Star Trek: Discovery - Jeff Russo - Lakeshore
IN THEATERS TODAY
A Ciambra - Dan Romer
Braven - Justin Small
The Cage Fighter - Ben Winwood
Every Day - Elliott Wheeler
Have a Nice Day - The Shanghai Restoration Project
Inoperable - Jonathan Price
A Lesson in Cruelty - Mark Fraser
The Music of Silence - Gabriele Roberto
On Body and Soul - Adam Balazs
Scorched Earth - Rich Walters
Winchester - Peter Spierig
COMING SOON
February 9
Beauty and the Beast: Disney Legacy Edition - Alan Menken - Disney
Churchill - Lorne Balfe - Filmtrax
A Fantastic Woman - Matthew Herbert - Milan
Hostiles - Max Richter - Deutsche Grammophon
The Lee Holdridge Collection vol. 1 - Lee Holdridge - Dragon's Domain
Mark Felt - The Man Who Brought Down the White House - Daniel Pemberton - Filmtrax
Maze Runner: The Death Cure - John Paesano - Sony
Outlander: Season 3 - Bear McCreary - Madison Gate
Phantom Thread - Jonny Greenwood - Nonesuch
The Quest/The True Story of Eskimo Nell - Brian May - Dragon's Domain
February 16
The Commuter - Roque Banos - Varese Sarabande
Fifty Shades Freed - Danny Elfman - Backlot
February 23
Il Corsaro Nero - Gino Peguri - Digitmovies
Sono Un Fenomeno Paranormale - Piero Piccioni - Digitmovies
March 2
Charlotte's Web - Richard M. Sherman, Robert B. Sherman - Varese Sarabande
March 9
The Exorcist - Tyler Bates - Milan
March 23
The Alienist - Rupert Gregson-Williams - Lakeshore
April 6
Howards End [U.S. release] - Nico Muhly - Milan
Date Unknown
Antonia - Jorge Aliaga - Rosetta
Deep - Fernando Velazquez - Quartet
Ivan the Terrible - Sergei Prokofiev - Capriccio
La Peste - Julio De La Rosa - Quartet
Que Baje Dios, Y Lo Vea - Fernando Velazquez - Quartet
Red de Libertad - Oscar Martin Leanizabarrutia - Rosetta
Rings - Matthew Margeson - Rambling (import)
Salvatore - Questa e La Vita - Paolo Vivaldi - Kronos
Thi Mai Rumbo a Vietnam - Fernando Velazquez - Quartet
THIS WEEK IN FILM MUSIC HISTORY
February 2 - Giuseppe Becce born (1877)
February 2 - Mike Batt born (1950)
February 2 - Miklos Rozsa begins recording his score for Crisis (1950)
February 2 - Richard Band begins recording his score for Parasite (1982)
February 2 - Recording sessions begin on James Newton Howard’s score for Outbreak (1995)
February 3 - Paul Sawtell born (1906)
February 3 - Derek Hilton born (1927)
February 3 - Daniele Amfitheatrof begins recording his score for Lassie Come Home (1943)
February 3 - Dave Davies born (1947)
February 3 - Toshiyuki Watanabe born (1955)
February 3 - Ray Heindorf died (1980)
February 3 - Lionel Newman died (1989)
February 4 - Hal Mooney born (1911)
February 4 - Kitaro born (1953)
February 4 - Don Davis born (1957)
February 4 - Bronislau Kaper begins recording his and Heitor Villa-Lobos' score to Green Mansions (1959)
February 4 - Patton opens in New York City (1970)
February 4 - Joe Raposo died (1989)
February 4 - Von Dexter died (1996)
February 4 - J.J. Johnson died (2001)
February 4 - Jimmie Haskell died (2016)
February 5 - Felice Lattuada born (1882)
February 5 - Bronislau Kaper born (1902)
February 5 - Clifton Parker born (1905)
February 5 - Elizabeth Swados born (1951)
February 5 - Cliff Martinez born (1954)
February 5 - Nick Laird-Clowes born (1957)
February 5 - Elmer Bernstein begins recording his score for The Rat Race (1960)
February 5 - Jacques Ibert died (1962)
February 5 - Guy Farley born (1963)
February 5 - Kristopher Carter born (1972)
February 5 - Douglas Gamley died (1998)
February 5 - Al De Lory died (2012)
February 5 - Ray Colcord died (2016)
February 6 - Akira Yamaoka born (1968)
February 6 - Hugo Montenegro died (1981)
February 6 - John Dankworth died (2010)
February 6 - Sam Spence died (2016)
February 7 - George Bassman born (1914)
February 7 - Marius Constant born (1925)
February 7 - Laurie Johnson born (1927)
February 7 - Alejandro Jodorowsky born (1929)
February 7 - Gottfried Huppertz died (1937)
February 7 - Frans Bak born (1958)
February 7 - David Bryan born (1962)
February 7 - Jerry Fielding begins recording orchestral cues for Demon Seed (1977)
February 7 - Shirley Walker begins recording her score for Willard (2003)
February 8 - John Williams born (1932)
February 8 - Joe Raposo born (1937)
February 8 - Alan Elliott born (1964)
February 8 - Lalo Schifrin begins recording his score for Earth II (1971)
February 8 - Akira Ifukube died (2006)
DID THEY MENTION THE MUSIC?
ANTIBIRTH - Eric Copeland
"The film’s writer/director is Danny Perez, whose only other feature credit is a visual album for the band Animal Collective. He does have a knack for trippy set pieces -- a kids birthday party at a bowling alley features a trio of demonic, Teletubby-esque characters -- and Black Dice band member Eric Copeland’s soundtrack rocks. In fact, if Perez had just called 'Antibirth' a visual album, it would actually make sense."
Sara Stewart, New York Post
COLONIA - Andre Dziezuk, Fernando Velazquez
"There is also either a lack of confidence in the filmmaking or in the audience that is felt throughout the movie. This is most noticeable anytime the overwrought score comes piping through the cinema speakers, which is far too often. Almost every action undertaken by the lead characters is accompanied by Fernando Velázquez (the upcoming 'Crimson Peak')’s compositions, cranked up to ear-shattering levels. Overall, Bruhl and Watson, two very capable performers, never get the chance to imbue the picture with the sensitivity it needs, with Gallenberg overcompensating behind the camera, and failing them on the page."
Kevin Jagernauth, IndieWire
"The leads are given the thankless task of maintaining grim poker faces through scene after scene of high contrivance and cliche-ridden dialogue. As the principal monsters, Nyqvist and Carey do not transcend caricature. Tech and design-wise, 'Colonia' is throughly pro if conventional, with a largely nocturnal color palette and urgent musical backing. Colony scenes were primarily shot in Luxembourg, which only heightens the project’s sense of excessive cultural removal from the events liberally fictionalized here, as does the fact that these Chileans and Germans constantly speak English -- a suspension-of-disbelief convention one could accept if they didn’t, in a couple incongruous moments of linguistic realism, speak Spanish as well."
Dennis Harvey, Variety
"Lena soon decides to go up and save him, disguising herself as a believer so she can infiltrate the camp. What she finds inside is unpleasant indeed, though what’s even more intolerable is Gallenberger’s insistence on using banal horror film techniques, including a nonstop ‘80s-style score from Andre Dziezuk and Fernando Velazquez, to make it all seem scary -- as if torture weren’t scary enough."
Jordan Mintzer, Hollywood Reporter
FINDING ALTAMIRA - Mark Knopfler, Evelyn Glennie
"It should be noted, by the way, that much of 'Finding Altamira' was handsomely filmed by Jose Luis Alcaine in many of the actual locations (including the Altamira cave itself) where the true-life drama unfolded more than 130 years ago. Indeed, despite the unevenness of the movie as a whole, the behind-the-scenes talents -- including production designer Benjamin Fernandez, composers Mark Knopfler and Evelyn Glennie, and costumer Benjamin Fernandez -- deserve credit for doing more than their fair share of the heavy lifting."
Joe Leydon, Variety
THE INVITATION - Theodore Shapiro
"Eden and her partner (Michiel Huisman) introduce increasingly disquieting activities, among them a home-video screening of a woman dying. Only Will seems to suspect something awful might be brewing -- or is he letting his paranoia ruin the evening? Alongside Theodore Shapiro’s angsty score, 'The Invitation''s greatest asset is Blanchard, who plays Eden with such expert melodramatic instincts that even her most menacing behaviors seem sympathetic."
Abby Garnett, Village Voice
"Still, little inconsistencies -- a locked door, a jar of pills, an inappropriately personal comment -- keep piling up. Kusama enhances the unease by shooting conversations in claustrophobic closeup, withholding crucial pieces of visual information behind doors and just around corners. The dinner itself is a delirious fever dream, and the characters’ tragic backstory is revealed in spurts as common household objects prompt flashbacks in an increasingly agitated and paranoid Will. With the help of Phillip Blackford’s atmospheric sound design and Theodore Shapiro’s unsettling score, Kusama plays with the audience’s sense of reality, first establishing Will as the voice of reason, then questioning the reliability of his perspective. It’s a cruel trick, and a clever one."
Katie Rife, The Onion AV Club
KATE PLAYS CHRISTINE - Keegan DeWitt
"Opinions vary on whether her actions were preventable. Did an argument with her boss the night before spark her act? Or did her lonely lifestyle fuel her exasperated state? In between recreations of these and other scenes, the speculation takes a number of intriguing turns; Sheil shifts in and out of playing her character and essentially playing herself, grappling with her part. It’s a fascinating mishmash of identities, engendered by Keegan Dewitt’s ominous score and colorful cinematography by the ever-reliable Sean Price Williams ('Listen Up Philip') that brings an expressionistic quality to Sheil’s conundrum."
Eric Kohn, IndieWire
"Later, we learn that Chubbuck was an excellent swimmer, and so Sheil, who says she’s a poor swimmer, goes to the beach in swimsuit and wig, paddling in the ocean as the score swells. Chubbuck haunts this film as a material ghost, with Sheil almost literally trying to find her, and by extension herself, the daunting difficulty of this task asserted when the wig washes off her head in the water, floating in the ocean like a link to unfathomable past."
Chuck Bowen, Slant Magazine
"When actors talk about the adverse emotional effects of playing a dark character for any length of time, there's a tendency to roll our eyes at them, mainly because of the perception that acting (like filmmaking or writing or music) somehow isn't 'real' work that exacts a different kind of emotional or physical toll. This film puts the lie to that belief. You see Kate becoming Christine, as the title promises, with all the downsides that transformation entails, and it's not always easy to look at. Much of the time it's genuinely disturbing. The film sometimes errs on the side of the same kind of mysticism that Kate's practical approach makes a point of rejecting -- there are perhaps too many ominous scenes of the actress being observed from middle distance while a synthesized score drones ominously -- but whenever the leading lady is talking to us and to herself, contemplating the work and what it means, the movie is riveting and unique."
Matt Zoller Seitz, RogerEbert.com
"Sheil also reads up on suicide. She visits a gun store to purchase a revolver from the same merchant where Chubbuck bought hers; she takes shooting lessons and interviews cops to research suicide methods. At an almost imperceptible point in all this, the film starts morphing from documentary into dramatic portrait, as Keegan DeWitt's music evolves from faint murky undertones to a needling soundscape."
David Rooney, Hollywood Reporter
KICKS - Brian Reitzell
"Reminiscent of 'Boyz N’ Da Hood' [sic] and 'Menace II Society' in its grittier moments, the truth is 'Kicks' is much more soulful than either (no, really) and a sublime humanity courses through the film that separates it from most typical gangsta dramas. Conversely, if the feeling of Sofia Coppola comes up and yet you resist the urge to say it aloud for fear of being jumped by your laugh-at-you homeboys, don’t. The beautiful ambient score is by Coppola’s musical man Brian Reitzell and his moody music along with sun-dappled, inspired use of slow motion cinematography -- used often, never played out -- definitely are certainly evocative of her reflective style. The key difference is 'Kicks' is a fable with street smarts too and never sticks in just one plaintive key."
Rodrigo Perez, The Playlist
"Working with agile editors Dominic LaPerriere and Tomas Vengris, and a dense soundtrack that shuffles assorted hip-hop tracks with Brian Reitzell's score, Tipping keeps the film's brisk rhythms humming. He breaks up the story with chapter headings pulled from lyrics by hip-hop artists of the past and present, including Nas, Jay Z, Too $hort, Mac Dre, Kendrick Lamar and Tupac. All that edgy street attitude is tempered, however, by a pervasive sweetness and a humorous light touch in the way the likeable central characters are observed."
David Rooney, Hollywood Reporter
MAX ROSE - Morgan Whirledge
"Noah undercuts the power of that achievement by embedding an unnecessary measure of sentimentality into the movie, with such cornball touches as dissolves into white light, a score that aggressively tugs at the heart and a visual aesthetic defined by dulcet autumnal imagery."
Robert Levin, AM New York
"Perhaps it says something about 'Max Rose''s plodding pace (at a mere 83 minutes, it still feels too long) that the move to the nursing home -- where Max, a former jazz pianist, befriends a trio of fellow old-timers (Mort Sahl, Lee Weaver, Rance Howard) -- is the closest the movie comes to perking up. Noah has had success as an indie producer and he has the benefit of good casting here, but appears unable to visualize his way out of a paper bag. In one unfortunately typical sequence, Max struggles to use an electric can opener in student-film-grade handheld jump cuts while strings and piano plead for a viewer reaction -- something, anything -- on the soundtrack."
Ignatiy Vishnevetsky, The Onion AV Club
MISS STEVENS - Rob Simonsen
"Hart’s film is quite funny in its strange way, with a tense, deadpan quality. You want to laugh, but often you’re afraid to, because there’s a gathering sense that something awful could happen at any moment. The settings are simple and spare, the characters’ movements limited, the score hesitant and atonal. But look closer beneath this pointed chilliness and you can see a world of emotional turmoil. Rabe’s facial expressions and delivery are a constant source of wonder, anxiety and pathos, while Chalamet keeps switching between clueless teen and brooding young man of mystery."
Bilge Ebiri, Village Voice
"Rabe, a brilliant stage actress who’s finally afforded a proper opportunity to display her talents on screen, leans into the lead role with a measure of personal experience that’s best left for each viewer to solve for themselves. Brittle but unbroken, her performance is attuned to the same imbalanced pitch of the musical saw that warbles across the soundtrack like a warm-blooded theremin. Supported by Hart’s eloquent framing (one medium shot of Miss Stevens sitting on a toilet seat is a masterclass in visual economy), Rabe beautifully sustains that feeling of waiting someone but not knowing what they look like."
David Ehrlich, IndieWire
"Portman films some conventional coming-of-age drama. We see Amos bullied at school and then later discovering that his imaginative powers can win him the fascination of the other boys. But his yearnings are neither made clear nor allowed to drive the film. In quick scenes, often propelled by music rather than dialogue, we watch him watch his parents or wander smoking fields to gather glass bottles to make Molotov cocktails from for the 1947 war. It’s not clear what he makes of this. He’s a reactionary force in a film that only affords agency to Portman’s Fania and the sweep of history, and Portman’s script offers too few scenes in which Amos can flower or surprise us -- or himself."
Alan Scherstuhl, Village Voice
"Portman seems fond of injecting metaphorical graphics of free-wheeling birds and apocalyptic desert landscapes, all again referring to Fania’s psyche rather than to Amos. Nicholas Britell’s musical comment is pleasingly lyrical, but used a bit too often."
Deborah Young, Hollywood Reporter
TRANSPECOS - Aaron Dessner, Bryce Dessner
"Shooting almost entirely outdoors, cinematographer Jeffrey Waldron has a keen eye for his surroundings, best shown with one magnificent image of the trio backlit against the setting sun, and Kwedar pulls off a number of credible action sequences that skirt any budgetary limitations through clever cutting. The score, from brothers Aaron and Bryce Dessner of the National, is fittingly sparse and mournful."
Andrew Barker, Variety
"A fine instrumental score by Aaron and Bryce Dessner of The National is especially successful at highlighting the leads' isolation in this vast terrain, a place where no amount of watchfulness seems sufficient to stop lawbreaking both devastating and benign. Undocumented immigrants help right some of the wrongs their watchmen couldn't prevent at the picture's end; naturally it's them, not the cartel masterminds, who will be punished."
John DeFore, Hollywood Reporter
WHEN THE BOUGH BREAKS - John Frizzell
"Steered by a wall-to-wall score that tells you the exact tone of a scene, 'When the Bough Breaks' starts innocently enough, with a beautiful couple, John and Laura Taylor (Morris Chestnut and Regina Hall, respectively) who are trying to find the right surrogate mother. They’ve gone through three miscarriages and are on their last embryo."
Nick Allen, RogerEbert.com
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, Laemmle, New Beverly, Nuart and UCLA.
February 2
AWESOME: I F*CKIN' SHOT THAT [Cinematheque: Egyptian]
GROUNDHOG DAY (George Fenton) [Cinematheque: Aero]
MY NEIGHBOR TOTORO (Joe Hisaishi) [Nuart]
WORKING GIRL (Carly Simon) [UCLA]
February 3
THE FITS (Danny Bensi, Saunder Juriaans) [Cinematheque: Egyptian]
MATTER OF LIFE AND DEATH (Allan Grey), AGE OF CONSENT (Peter Sculthorpe) [Cinematheque: Aero]
A TEACHER (Brian McOmber) [Cinematheque: Egyptian]
12 O'CLOCK BOYS (Joe Williams) [Cinematheque: Egyptian]
20,000 YEARS IN SING SING (Bernhard Kaun), THE MAD GENIUS (Leo F. Forbstein) [UCLA]
WENDY AND LUCY, MEEK'S CUTOFF (Jeff Grace) [Cinematheque: Egyptian]
February 4
BUGSY MALONE (Paul Williams) [UCLA]
February 6
LOVES OF A BLONDE (Evzen Illin) [LACMA]
February 8
THE BIG LEBOWSKI (Carter Burwell) [Laemmle NoHo]
SATAN'S TOWN (Taiichiro Kosugi), EIGHT HOURS OF TERROR (Takio Niki) [Cinematheque: Egyptian]
TINKER TAILOR SOLDIER SPY (Alberto Iglesias) [Cinematheque: Aero]
February 9
BRANDED TO KILL (Naozumi Yamamoto), BORN UNDER CROSSED STARS (Hajime Okumura) [Cinematheque: Egyptian]
FRANCES HA [Cinematheque: Aero]
HAROLD AND MAUDE (Cat Stevens) [Nuart]
MILDRED PIERCE (Max Steiner), FLAMINGO ROAD (Max Steiner) [UCLA]
February 10
RAIDERS OF THE LOST ARK (John Williams), INDIANA JONES AND THE TEMPLE OF DOOM (John Williams), INDIANA JONES AND THE LAST CRUSADE (John Williams) [Cinematheque: Aero]
NINE TO FIVE (Charles Fox), SHE MARRIED HER BOSS [UCLA]
TOKYO DRIFTER (Hajime Kaburagi), THE FLOWERS AND THE ANGRY WAVES (Hajime Okumura) [Cinemathque: Egyptian]
February 11
EVERYTHING GOES WRONG (Keitaro Miho), FIGHTING DELINQUENTS (Seitaro Omori) [Cinematheque: Egyptian]
SALESMAN [Cinematheque: Aero]
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