On the occasion of their film “Door” screening at BIFAN, Banmei and Keiko Takahashi talk about watching the movie after all these years, the reasons he casted her in the movie, exploring the limits of Eirin, directors' rights in Japan, the violence in the movie, capitalism and the impact of the absent father, the movie industry today, playing the roles of older women as time passes, the recent MeToo outcry in Japan and other topics.
You can check the review of the movie here: “Door”
On paper I am an Italian living in London, in reality I was born and bread in a popcorn bucket. I've loved cinema since I was a little child and I’ve always had a passion and interest for Asian (especially Japanese) pop culture, food and traditions, but on the cinema side, my big, first love is Hong Kong Cinema. Then - by a sort of osmosis - I have expanded my love and appreciation to the cinematography of other Asian countries. I like action, heroic bloodshed, wu-xia, Shaw Bros (even if it’s not my specialty), Anime, and also more auteur-ish movies. Anything that is good, really, but I am allergic to rom-com (unless it’s a HK rom-com, possibly featuring Andy Lau in his 20s)"
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