Masaki Kobayashi’s pitiless take on Japan’s professional baseball industry is unlike any other sports film ever made. A condemnation of the inhumanity bred by a mercenary, bribery-fueled business, it follows the sharklike maneuvers of a scout dead set on signing a promising player to the team the Toyo Flowers.
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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