May 4–19, 2024 at MoMI
A major 27-film retrospective of master Japanese filmmaker Hiroshi Shimizu comes to Museum of the Moving Image and Japan Society in NYC, co-organized with the National Film Archive of Japan and the Japan Foundation, New York. MoMI will present Part 1, from May 4–19, featuring Shimizu’s work at Shochiku studio, which includes his best-known films in the United States as well as rarely seen supreme masterpieces, Children in the Wind (1937) and its two-volume sequel Four Seasons of Children (1939). All films will be presented in 35mm prints imported from collections and archives in Japan. See full schedule for Hiroshi Shimizu Part I at MoMI.
Hiroshi Shimizu, Part II: The Postwar and Independent Years runs…
May 4–19, 2024 at MoMI
A major 27-film retrospective of master Japanese filmmaker Hiroshi Shimizu comes to Museum of the Moving Image and Japan Society in NYC, co-organized with the National Film Archive of Japan and the Japan Foundation, New York. MoMI will present Part 1, from May 4–19, featuring Shimizu’s work at Shochiku studio, which includes his best-known films in the United States as well as rarely seen supreme masterpieces, Children in the Wind (1937) and its two-volume sequel Four Seasons of Children (1939). All films will be presented in 35mm prints imported from collections and archives in Japan. See full schedule for Hiroshi Shimizu Part I at MoMI.
Hiroshi Shimizu, Part II: The Postwar and Independent Years runs May 16–June 1, 2024 at Japan Society.
An unsung master of Japanese cinema, Hiroshi Shimizu (1903–1966) was highly regarded by contemporaries Yasujirō Ozu and Kenji Mizoguchi for his seemingly effortless formal ingenuity, distinguished by his signature linear traveling shots and his naturalistic, open-air depictions of regional Japan. Shot on location and frequently employing non-actors, the loosely plotted, low-key tragicomedies that comprise his most characteristic work foregrounded the transient lives and hardships of everyday people with a marked regard for those pushed to the margins of society, including drifters, migrant workers, war veterans, persons with disabilities, outcast women, and especially children, in whom the director took a personal philanthropic interest and of whom he remarked: “They are natural. They breathe the air. Films must have humans who breathe the air.”
This two-part retrospective offers the first New York survey of the major yet often overlooked filmmaker in more than 30 years and the largest ever assembled in North America. Presented at the Museum, Part I: The Shochiku Years gathers the best films of Shimizu’s protean and varied career with the studio from his stark, strikingly modernist early melodramas, both silent and sound, through the lyrical tours of provincial life with which he would become chiefly associated. Highlights include the filmmaker’s best-known films in the United States (Japanese Girls at the Harbor, Mr. Thank You, The Masseurs and a Woman, Ornamental Hairpin) alongside rarer contemporaneous works that display the full stylistic and tonal range of this consummate craftsman’s accomplishments, including two of the director’s supreme masterpieces, Children in the Wind (1937) and its two-volume sequel Four Seasons of Children (1939). All films will be presented in 35mm prints imported from collections and archives in Japan.
Part II: The Postwar and Independent Years opens at Japan Society on May 16 and will illuminate Shimizu’s output after his departure from Shochiku, particularly the trilogy of films he made with the orphans he personally adopted and brought up after World War II.
