Yaji-san and Kita-san, tired of traveling, change their plans and go to the Dzenkoji temple, overcoming many obstacles in their path..

Snowflakes the size of temple stamps swirl through the monochrome night as the film opens, and already director Matsunosuke Onoe has glued your pupils to the flicker: a lantern snuffed by the wind, reignited by sake breath, snuffed again. The camera—hand-cranked, 1928 vintage—shivers like a pilgrim’s knees, so every f...


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Yaroku Kobayashi

Victor Heerman
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" Snowflakes the size of temple stamps swirl through the monochrome night as the film opens, and already director Matsunosuke Onoe has glued your pupils to the flicker: a lantern snuffed by the wind, reignited by sake breath, snuffed again. The camera—hand-cranked, 1928 vintage—shivers like a pilgrim’s knees, so every frame feels bootlegged from a dream somebody else half-remembered for you. Yaji-san (En'ichirô Jitsukawa) enters wearing a straw coat stitched with discarded love letters; Kita-san..."
Ikku Jippensha
Japan

