Most Meaningful First Viewings and Re-Evaluations of 2013 Part 11: The "T"s

Takeshis’ (Takeshi Kitano, 2005)
That this area of Kitano's career has been dismissed compared to the rest, this being the first of the three in these meta-autobiographic works of his I've seen, is sad considering this film is so alive with wit and interest. Complete absurdity start to finish, as one critic perfectly described this period of his work the creation of a man who is free. Skewering Hana-Bi (1997) ay the end, the film that broke Kitano into the West for many, he both reflects on his career throughout this one with a satirical light and showed he had more than enough creativity for another decade of films.

The Tatami Galaxy (Masaaki Yuasa, 2010)
Rewatched this last month and saw Kaiba (2008), the director's earlier TV series, making this one fresh in my mind again. If only more Yuasa projects were as available as The Tatami Galaxy was, as he already stands up as a potentially great anime auteur whose ability to tackle with human emotions alongside visual creativity is rewarding.

Taxi zum Klo (Frank Ripploh, 1981)

Theorem/Pigsty (Pier Paolo Pasolini, 1968-9)
Expect more Pasolini films to be seen as monthly lists at least for February. He is becoming one of the most interesting and rewarding filmmakers I've going through the work of.

They Called Us ‘Les Filles du Roy’/A Scream From Silence (Anne Claire Poirier, 1974-79)
A type of cinema I haven't seen a lot of. A fascinating documentary in the former, the later a deeply unsettling film which, while once finding its later half's cerebral discussions too disconnected on the theme of the damage of rape, has stayed throughout the year and become more powerful.

They Eat Scum (Nick Zedd, 1979)
Sometimes complete rawness is more rich. Transgressive, course rawness. Funny too, especially with a habit of making jokes against disco, and I'm a fan of disco music.

Thief (Michael Mann, 1981)

This Must Be the Place (Paolo Sorrentino, 2011)

This Sporting Life/O Lucky Man! (Lindsay Anderson, 1963/1973)

Thunderbolt and Lightfoot (Michael Cimino, 1974)
This is a great way to show anyone who distinct seventies cinema could be, and why its missed as badly as it is by many.

Time to Leave (François Ozon, 2005)

Tomu Uchida
(Souls in the Moonlight Trilogy (1957-58-59), Chikamatsu’s Love in Osaka (1959),
Yoshiwara: The Pleasure Quarter aka. Hero of the Red Light District (1960), Fugitive from the Past (1965))
If only Uchida's work, like many other under appreciated Japanese directors, was available in the West. There's large gaps in the global view of cinema, and any of these films I've been lucky enough to see would fit perfectly into it.

A Touch of Zen (King Hu, 1969)

Two Orphan Vampires (Jean Rollin, 1997)
I've developed a habit of praising maligned or obscurer works by well known directors even over their more well known work. I hope this trend continues.

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Images from the following sources:

http://cineplex.media.baselineresearch.com/images/155913/155913_full.jpg

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http://static.guim.co.uk/sys-images/Film/Pix/pictures/2006/05/11/time372.jpg

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https://feminema.files.wordpress.com/2012/01/touch_of_zen.jpg?w=480&h=196

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