Yasujiro Ozu’s first post–World War II film takes place in an impoverished Toyko neighborhood that has been partly destroyed in bombing raids. Here, a hardhearted middle-aged widow reluctantly takes in child abandoned by his father; eventually the two of them warm to each other. Ozu’s delicate, humorous, and unsentimental story of redemption is the director’s expression of a country slowly coming out of the dark.
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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