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    The Place Promised in Our Early Days 2004 POSTER

    The Place Promised in Our Early Days

    2004

    Japanese

    6.8

    61

    71%

    79%

    Action

    adult animation

    airplane

    alternate timeline

    Animation

    anime

    Drama

    foreign occupation

    Romance

    Sci-Fi

    violin

    Makoto Shinkai Makoto Shinkai Director Hidenobu Kiuchi Hidenobu Kiuchi as Arisaka Hidetaka Yoshioka Hidetaka Yoshioka as Hiroki Fujisawa Masato Hagiwara Masato Hagiwara as Takuya Shirakawa Kazuhiko Inoue Kazuhiko Inoue as Tomizawa
    In a post-war alternative timeline, Japan is divided into the North, controlled by the Union, and the South, controlled by the United States. A mysterious high tower rises within the borders of the Union. Three high school students promise to cross the border with a self-built airplane and unravel the secret of the tower.
    Good Morning 1959 POSTER

    Good Morning

    1959

    Japanese

    7.8

    19

    94%

    87%

    Action

    adults vs kids

    brotherhood

    Comedy

    Drama

    Family

    japan

    parent child relationship

    protest

    television

    Yasujirô Ozu Yasujirô Ozu Director Fujio Suga Fujio Suga as Itô Sensei - Minoru's Teacher Keijirô Morozumi Keijirô Morozumi as Junsa Kôji Shitara Kôji Shitara as Minoru Hayashi Eijirô Tôno Eijirô Tôno as Tomizawa
    A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
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