After finishing what would become his international phenomenon Rashomon, Akira Kurosawa immediately turned to one of the most daring, and problem-plagued, productions of his career. The Idiot, an adaptation of Fyodor Dostoyevsky's nineteenth-century masterpiece about a wayward, pure soul's reintegration into society—updated by Kurosawa to capture Japan’s postwar aimlessness—was a victim of studio interference and, finally, public indifference. Today, this "folly" looks ever more fascinating, a stylish, otherworldly evocation of one man’s wintry mindscape.
Seattle, 1984. Taking their camera to the streets of what was supposedly America’s most livable city, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the city’s margins
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