簪 [Kanzashi / Ornamental Hairpin] (Hiroshi Shimizu, 1941)
Aug
10
1941
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A formal paper with the date stamp for August 10, Showa 16 (1941). DP: Suketarō Inokai.
簪 [Kanzashi / Ornamental Hairpin] (Hiroshi Shimizu, 1941)
Aug
10
1941
.png)
A formal paper with the date stamp for August 10, Showa 16 (1941). DP: Suketarō Inokai.
簪 [Kanzashi / Ornamental Hairpin] (Hiroshi Shimizu, 1941)
Mar
3
melon
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A traditional Japanese room with tatami mats. Boys at a table eat melon slices. A woman makes a phone call. The view through the window reveals a gnarly tree and a mountain in the background. DP: Suketarō Inokai.
“There’s something almost poetic about finding a hairpin in the bath. It’s like the sole of my foot has been pierced by poetry.” 簪 [Kanzashi / Ornamental Hairpin] (Hiroshi Shimizu, 1941)
Jul
24
relaxation

Men relaxing at a roten-buro, an outdoor onsen. DP: Suketarō Inokai.
Someone goes to a spa, beach, or retreat*
– Nanmura, via
Relaxing at an onsen, a young man steps on the titular kanzashi. Now injured with too much time on his hands, he and his fellow nosy patrons start speculating about its owner. Then a telegram announces her arrival.
* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.
“This winter… I'm going to the mountain. My mother went to the mountain, as did the mother-in-law of our home. So I have to go too.”楢山節考 [Narayama-bushi kō / The Ballad of Narayama] (Keisuke Kinoshita, 1958)
Dec
11
International Mountain Day

Tatsuhei (Teiji Takahashi) with his mother Orin (Kinuyo Tanaka) in a bamboo carrier on his back. She's combing his hair. Around them the mountain range. DP: Hiroshi Kusuda.
Travel mountains on International Mountain Day
A starving community has come to the agreement that the elders approaching the age of seventy are to be carried up Narayama mountain to die. The day prior to the mountain's festival, sixty-nine year old Orin prepares to leave, carried by her son Tatsuhei.
– Orin
In Keisuke Kinoshita's highly stylised 楢山節考, the arguably cruel (and most likely fictional) practice – of 姥捨て [ubasute, abandoning an old woman] – is superbly abstracted. Narration, dramatic lighting, colour filters and very obviously a soundstage underline that what we're watching is not a film, but a kabuki play.