The Inugami ‘effect’ (‘The Inugami Family’ - Kon Ichikawa, 1976) / ‘Inugami’ - Masato Harada, 2001)

An essay on both films and a tribute to Kon Ichikawa

By Nicholas Poly

In this article I’m going to take a peek on a double bill. The first title is Kon Ichikawa’s intriguing mystery drama ‘The Inugami Family’ aka ‘The Inugamis’, which was released back in 1976. The second one is Masato Harada’s ‘Inugami’ which was released 25 years later, in 2001.

The interesting fact is the inugami ‘effect’ itself, in both films, which is also the obvious link between the two titles. It must be stressed though, that the theme is presented from a completely different angle in each one of these features. This means that there is no apparent ‘technical’ or ‘artistic’ relation between the two films. Harada’s film is nor a remake neither some kind of ‘hommage’ on Ichikawa’s title. Each one of the films forms a cinematic universe of its own, despite the dramatic overtones and symbolisms that reflect in both features.

But first of all what is ‘inugami’, what does it mean? 

‘Inugami’ (which stands for ‘dog god’) is a state of spiritual possession by the spirit of a forest dog, mostly revived in the western parts of Japan. The ‘Inugami’ belongs in the class of supernatural monsters, a ‘Yokai’ in Japanese terms. It is also believed that this kind of possession may not have a strictly ‘evil’ or vicious effect on a human, as these spirits of ‘god dogs’ come in various forms. The ‘Inugami’ is an inherited ‘curse’ that passes on from generation to generation, within the members of a family. The person who is primarily responsible for the possession has also the power to control its effect through the affected members of the family. It’s said that the ‘possessed’ have the power to cause health issues to enemies or even bring wealth to those who befriend them. To make a quite long and interesting story short, we’re talking about some kind of folklore superstition, a kind of deeply symbolic, supernatural state, which is quite possible to take a deadly, vengeful turn within a ‘clan’.

If you want to discover more about ‘yokai’ folklore beasts in general, there is this great book called ‘The Night Parade of One Hundred Demons: a Field Guide To Japanese Yokai’ written by Matthew Meyer. It’s full of beautiful illustrations by the author himself, plus you will find interesting stuff about the inugami concept. There are plenty of interesting books regarding yokai monsters. Of course there is also Miyazaki’s most popular celebration of forest god’s in his ‘Mononoke Hime’ back in 1997. A feature which should be analysed frame by frame in order to righteously explain the symbolism of the creatures Miyazaki presents.   Finally, if you fancy a little bit sleazier take on the Inugami myth you may find it it in Shunya Ito’s 1977 film ‘Curse of the dog god’. Though I like Ito as a director, who’s mostly famous in the west for his ‘Sasori’ series starring Meiko Kaji, I wasn’t overly satisfied with his take regarding the ‘inugami’ curse. He surely produced much better features throughout his career than that. But let’s take a look into our main titles.

Kon Ichikawa

First of all, I would love to write a few words regarding the great filmmaker, Mr. Kon Ichikawa. He is most widely known to the public for his 1959 epic ‘Nobi’. But that’s just a tip of an iceberg full of amazing masterpieces, literally created for every kind of cinematic taste and mood. Ichikawa himself had his own film remade 30 years later, back in 2006, under the title ‘The Inugamis’. This is no surprise as Ichikawa is widely known about his remakes on various titles during his career. In 1985, almost 3 decades after its original release, Ichikawa created a remake of his own poetic WWII chime ‘The Burmese Harp’. Moreover, one of his greatest masterpieces, which is also one of the most important and thoroughly entertaining films in the history of Japanese cinema, the blend of ‘kabuki’ revenge drama mixed with pure entertainment that ‘An Actor’s Revenge’ is, was released in 1963.  It also happens to be an absolutely stunning remake of the equally gorgeous 1937 film by the pioneer director Teinosuke Kinugasa.

Still taken from Ichikawa’s stunning remake on Kinugasa’s ‘An Actor’s Revenge’ 1963

Ichikawa also mastered the art of onscreen literary adaptations. For instance, his adaptation on Mishima’s iconic ‘Conflagaration’ in 1959 is a filmic essay on how one adapts a novel onscreen. In ‘Conflagaration’ he’s taking a genuine, fully symbolic, work of art in order to transform it into a solid, powerhouse cinematic statement. Hand in heart, and having watched a certain amount of his films on repeat, I dare say that even a whole volume might not be enough to describe in full detail the triumphs that Mr. Ichikawa has achieved through his creative years. Let’s not forget we’re talking about a spanning career that runs through 6 decades and about 90 features…the utterly rare but exact case where cinematic quantity meets quality.

Ichikawa’s versatility is something unique. His amazing artistic tuition, regarding so many different aspects, shines all over his films. His impeccable skills range from costume and set design to ‘manga’ storyboarding techniques. His perfect sense on using the right sounds and musical scores against the exact precise imagery make his features, most often, seem like an audiovisual marvel, to say the least. Ichikawa is a masterful entertainer, a really clever and definitely a complex one. The artist that hits all kinds of spots. There’s absolutely nothing to spare. He is the one who will use every tool he has to turn on the viewer’s senses to the highest volume possible. His heroes seem dignified, they seek redemption and even revenge, they often defy their limits, they resist. They become preserved, they demand spiritual enlightenment, but they are daring at the same time, ready to push their human boundaries.

After his epic triumph with the filming of the iconic documentary about the 1964 Tokyo Olympics for Toho studios, Ichikawa directed a few independent productions. There were a series of documentaries and a few dramas, including the beloved title of ‘Matatabi’ (aka The Wanderers) a marvelous, metaphorical film about three ‘ronin’ warriors in feudal Japan which shouldn’t be missed.

The Inugami Family

In 1976, he decides that it’s about time to get involved with proper studio production once again, as things in Japanese film industry went extremely tight for a vast number of first rate creators. He teams up with Kadokawa studios and directs the onscreen adaptation of the novel ‘The Inugami Clan’. This is the first film from a series of five created by Ichikawa, which involve the iconic Japanese detective Kosuke Kindaichi. This is a character originally created by the acclaimed novelist Seishi Yokomizo and followed by almost 80 absolutely classic mystery tales. Ichikawa strikes gold as ‘The Inugami Family’ becomes a huge box-office success, accompanied by critical appraisal. The production values are huge and the refund is equally big. This is possibly the film which fuelled Ichikawa’s engine to get going at full speed towards the next decades.

Once again, following his successful recipe of extremely complex but highly entertaining films, he manages to handle a quite big number of characters in absolute harmony, and respect the author’s hierarchy, at the same time. He’s so spot on balancing the ingredients of comedy – family drama – mystery – thriller in such a scale that his achievement only seems as effortlessly natural as much as impressive. Undoubtedly, Ichikawa has got exactly what it takes to accomplish this quite difficult task. We’re talking about a case where the viewer has to keep up with about 15 to 17 (to be a bit more precise 10 leading family members plus 2 leading outsiders consist the very core around which the main drama revolves) characters. These very characters constantly clash with each other in various ways, in order to dominate over a family fortune case.

But let’s try setting a few things in order by providing as much information as I’m allowed to give without spoiling the pleasure of watching Ichikawa’s extraordinary ‘craftwork’. The truth is that if the viewer digs into the film without reading Yokomizo’s novel or without a very rough sketch, there is a minor possibility of getting ‘lost’. The final conclusion is quite clear though.

The story is set around 1947. WWII has ended and the set is the small community around lake Nasu. A very wealthy and the apparent head of the Inugami family, Sahei, is ready to ‘leave’ this world. Sahei (a quite Shakespearean figure for at least as much time as we get to notice him) is also the founder of a big pharmaceuticals company, which runs under his name. As we sink further into the case, we learn a few secrets, which, by the way, seem to be a bit common within the community members. There are revelations which unfold through personal discussions, regarding how he set up his business and subsequently on how he grew extremely rich and powerful in the area of Nasu. After all, providing drugs to ease the human pain during wartime, equals big profits. The opening sequence captures Sahei surrounded by a number of family members. The family lawyer, Mr. Furutachi, is ready to read the will he left behind as Sahei’s body lies on the tatami, ready to take his very last breath. Except the fact that his will won’t be announced yet. This happens for the simple reason that he has commanded that each and every one of the Inugami family members should be present when that happens.

Rentaro Mikuni as Sahei, the patriarch of The Inugami Family

The Inugami family tree is quite complex. Sahei has 3 daughters with 3 different women with whom he never got married. At some point, when the will is finally being announced, we are informed that he has a 4th one with a maid who worked inside his mansion. From the 3 apparent daughters, Matsuko is the eldest, Takeko is the second and the third one is Umeko. Matsuko and Umeko live in their father’s mansion, while Takeko lives  in Tokyo, with her husband, who happens to be a branch manager for the company there. The 3 daughters have 3 sons named Suketake, Suketomo and Sukekiyo except Takeko, the middle sister, has also a daughter named Sayoko. His 4th daughter has also a son named Shizuma. Shizuma’s and his mother’s last name doesn’t belong in the Inugami visibly ‘legitimate’ circle of family members. He and his mother are some kind of outcasts who do not receive any kind of approval from the rest  of the family members. At least as they present them to be. Shizuma and Sukekiyo (Matsuko’s son) were soldiers fighting for the Japanese army and one of the reasons Sahei’s will is not read in the first place is because Matsuko is missing away from the mansion for a while. This happens in order to meet her son who made his way back from the front, wounded, carrying a nasty face disfigurement. As a result, she’s bringing him back, with his face covered behind a white mask. As soon as Matsuko and her son return to the mansion the will can be read in front of every single member, as Sahei had commanded in the first place.

In the very beginning we also focus on a young girl named Tamayo Nonomiya. Tamayo is introduced as Sahei’s protégée. At first we learn that she has no connection with the Inugamis. We are informed that she’s just a character that Sahei felt connected with and eventually that’s how she found herself inside his mansion. Of course this is not quite the case as Tamayo’s presence is one of the keys for various reasons and faces within the family. This includes a hidden secret on how Sahei appeared in Nasu area out of nowhere at a young age and how he befriended a local couple there, including a strange romance. A story that goes 60 years back and which I am not going to analyze any further.

Yoko Shimada as Tamayo Nonomiya, Sahei’s protegee

At the same time, we witness the arrival of our hero, the man that becomes our guiding light through this puzzle. Detective Kindaichi is a fairly young man, who, at first glance, doesn’t quite make an impression of what some may call a stereotypical ‘detective figure’. He has a quirky spirit though, and an amazingly strong sense of what’s happening around him. He certainly knows how to get into the bottom of things in his own special way. He comes along a quite gentle, discreet and trustworthy personality. He’s spontaneous and a bit of a loner. I would say, for us the westerners, Ichikawa’s Kindaichi is a hybrid of Detective Colombo and a bit of Holmes. He seems to drift in his own thoughts, but the truth is that’s only a cover to get exactly where he wants.

Kindaichi is called by Wakabayashi, the Inugami’s lawyer young assistant. Apparently Wakabayashi reads the will by himself so he writes to Kindaichi and invites him to examine a few things. There is also a hint that this certain man has a thing going on with beautiful Tamayo, Sahei’s protégée. He understands that there will be lots of tribulations, so he calls the detective to have an eye on case. The thing is that Wakabayashi is the first one of the victims, as he’s found poisoned inside the small ‘Nasu Inn’, the place where Kindaichi’s staying, while he’s dropping in to have a meeting with him. Kindaichi also becomes the eye-witness of an incident concerning Tamayo’s assassination, as there’s an attempt to drown her by sinking her small boat. Note that all this take place within almost half an hour of a 2 and a half hour film. The audience is bombarded with details, names, hints from the past and quite a lot of action right from the first minute. And this is just a needle in a haystack full of information, full of turns and twists which occur in a delirious pace as the story proceeds.

At the point where the Inugamis finally gather, Furutachi, the lawyer, asks Kindaichi to be present while he announces the will as he’s being afraid after the incident of his assistant’s death. Every single member is having dreams about shares, making calculations and speculations regarding the patriarch’s testament. That goes especially for the 3 main daughters. The thing is, Sahei Inugami has his own unpredictable way of mixing the cards even without being physically present. Through his will, he commands that the only case of claiming any bit of his vast fortune is that only one of the 3 grandsons must be picked as a husband by his protégée, Tamayo. What’s even more interesting is that inside his will he predicts the possible implications which might come after his commandment. As a result, he leaves very specific orders about who claims what in every possible case. All this mess, just in case someone might go missing or even if an accident might happen to somebody. He even speculates the case in which Tamayo might get away with someone else than the 3 grandsons…and not only that. He also placed the son of his fourth estranged daughter, Shizuma, in the game to spice things up a bit. This is where all the mayhem starts breaking loose. A series of murders start taking place, drastically reducing the number of ‘candidates’ while family members try to prove their identities through a rollercoaster of role changing behind latex masks. There is some identity swapping occurring, human heads found on statues bodies and three family symbols are being transformed into killing instruments: axe, koto instrument and chrysanthemum.

Koji Ishizaka as Kosuke Kindaichi is waiting behind the Inugami’s lawyer to hear Sahei’s will announcement

The performances are absolutely spot on. Koji Ishizaka is absolutely convincing as detective Kindaichi. He performed the same hero in all 4 Kindaichi adaptations by Ichikawa which followed ‘The Inugami Family’. Teruhiko Aoi plays a double part as both soldiers – sons – heirs who return from the front, while in most of the film he’s being covered by a white latex mask. Yoko Shimada as Tamayo is absolutely stunning in front of the camera and Ichikawa is fully aware of that so he gives her plenty of time. Overall, I cannot isolate a specific performance for the simple reason that we have a truly amazing ensemble cast performance. The result is brilliant to say the least. Ichikawa conducts his ‘orchestra’ with absolute precision, providing all the space and time he can afford, from the biggest time consuming parts to the smallest ones. Even Seishi Yokomizo himself appears in a quite small part as the Nasu Innkeeper.

As a viewer and as an Ichikawa fan, I got the impression that 2 and a half hours are not quite enough to spread the storyline and I can bet the auteur was aware of that fact. The film runs a bit fast at the beginning, it becomes more rapid in the middle and slows down a bit in the end so we can digest the overall effect of the mystery. In fact, this could be a top quality TV mini series. I  guess that this is one of the reasons that the film was a crowd pleaser, without putting my hand on any bible, as audiences are a strange breed. Though it’s an overwhelmingly complex and multidimensional story, Ichikawa chooses his depiction not to be too formulaic, too academic if you want. And he makes the right choice. He lets things a bit loose like he doesn’t want to push things in a certain direction. Of course he probably took advantage of the fact that Kadokawa films are not meant to be formulaic. They usually pick different thematic genres, mixing them with easygoing and popular styles in order to flash out pure, fun entertainment. But in the end, it’s the same Japanese cinematic versatility that makes them another beautiful cinematic cult. After all, that’s a positive way to attract different kinds of audiences and experiment with them. The more demanding, academic audience, plus the more ‘televised’ audience who seeks straightforward thrills. I may understand why Kurosawa, who found himself in absolute turmoil at the time, despised films produced by Haruki Kadokawa. I don’t share his opinion on this certain issue, as I recognize that Ichikawa made that happen by not losing any of his already confirmed artistic integrity and legacy. I would say, on the contrary, he fully succeeds in this experiment by gaining even more viewers, by showing a way to others and by potentially reinventing himself. Making it through such a difficult task, in such hard times and with such tough competition all around him, it only makes this kind of experiment look like a great achievement.

Buy This Title

Publisher: IVL
Release date: September 2006
Running time: 147minutes
This Hong Kong DVD is region code 3. The edition includes one disc. The film is in Japanese and has English subtitles.
Picture formatis 4:3 NTSC and the sound Mono Japanese, subtitles are available in English and Chinese

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In Masato Harada’s ‘Inugami’ we are ‘teleported’ half a century later, in the forests of Mount Omine where his story unfolds, based on a novel by Masako Bando.

In the opening sequence, we meet one of the two main characters. At first we meet Miki Bonomiya, a name which sort of reminds the last name of Tamayo Nonomiya, Sahei’s protégée in Ichikawa’s ‘Inugamis’. She’s a traditional in-house maker of paper used for calligraphy. She cooperates with a wealthy family near Omine, the Dois, who own a big paper factory. She hands over her handmade calligraphic papers to them and they both make profit as the Dois push it in the big market along with their own products. Seiji, a young local from the Doi family and apparent heir of the Doi paper fabric is responsible for trading with Miki. At first glance and as we observe Miki’s character, we see an obviously good looking woman who has somehow abandoned herself. She’s a loner and a hard worker, living with her estranged family who has quite a name in the area. Her hair are gray-ish, though she doesn’t look old enough. At the same time, we meet our second main character, Akira Nutahara, a newcomer in the area who arrives there to teach in a school in Ikeno area, which is right next to Omine. As he runs out of gas, he accidentally meets Seiji. They have small talk regarding who’s who and Seiji gives him some information about the location. Seiji, who’s a kind figure throughout his presence in the film, helps Akira by giving him a ride. He tells him he’s got to make a stop at Miki’s place first. As they walk through a forest to reach Miki’s isolated paper lab, Akira passes out. As a result, he’s found unconscious in Miki’s working place and that’s how the two main characters get in touch.

Yuki Amami as the Inugami possessed Miki Bonomiya

In the meantime, we have already met the third-key character, Takanao. He’s Miki’s brother and he’s not a particularly easygoing character. In fact, he’s an oppressive patriarch in disguise, who uses everything and everyone to do whatever he wants. Practically, he kinda sweeps under the rug his personal failures and his weaknesses which have an impact on the rest of the family. He also treats women in a despicably chauvinistic manner, as he has these misogynistic outbursts where he drives his wife on the edge of her temper. This is only the tip of his hideous behavior as he keeps his family captive through a way of life that doesn’t keep up with the era they actually live in. It seems like he keeps them hidden in the ‘dark’. They don’t use electricity, TV’s or phones, but as we learn, they are allowed to use a computer. Probably because Takanao had a wine trade which he set up through the internet, which, expectantly, fell apart like everything and everyone else in his life.

These 3 characters have something very important in common. It’s through their secret that Harada’s mixes a bit of Oedipus Rex mythology with the inugami curse. Both these traits run within the Bonomiya circle for a long time and as it seems, they make their presence ‘visible’ once again.

Oedipus Rex

In case you’re not aware what Oedipus Rex is about allow me to make a brief  introduction. We’re  talking about a Greek ancient tragedy written by the great Sophocles. Oedipus is abandoned by his father, Laios the king of Thebes. Oedipus is found and raised by Polybus, the king of Corinth, an area in the northern part of Peloponnese. Oedipus receives a prophecy where he’s destined to kill his father and marry his mother, in order to become a king. Thinking that he might kill Polybus, his stepfather, he leaves Corinth and as he wanders he accidentally kills Laios, his biological father. He steps in Thebes, which has become an abandoned kingdom. Thebes is left at the mercy of the Sphinx, a mythological monster. He solves the riddle of Sphinx as required and becomes the King of Thebes. He’s marrying the king’s widow, Jocasta, who’s also his biological mother. Years later when Jocasta learns she’s married to her son and as it appears, her husband’s killer as well, she commits suicide by hanging herself. When Oedipus realizes what he’s really done he blinds himself by sticking two of Jocasta’s pins into his eyes.  Freud borrowed Oedipus act of incest to come up his theory about the Oedipus complex.

Harada’s using the Oedipus complex and mixes it with Japanese tradition and folkloric horror in order to create a multidimensional story. I can’t say he succeeds fully, as it seems that he wants to say a lot of things in almost less than two hours. The film is very well made, though. I also got the impression that people were expecting a J-horror kind of film, but this is not actually the case. The mystery and the creepiness is present in a scale. But this is mainly a tragedy and as the story proceeds, it becomes clear that we are involved into a psychological drama with supernatural character. This is the reason why I don’t want to spend a lot of words regarding the plot unfolding. The very final scene is kind of opposing to the original Oedipus Rex tragic ending. It seems  more cathartic than just driving us to a tragic conclusion. There is a possibility that this is happening in order to ease all these crushingly dramatic interactions we watch taking place before our eyes a bit. Probably Harada wants a more ‘romantic’ ending as he wants us to finally feel for these two souls, no matter what we may think about their interaction. I have also the sense that Harada leaves it a bit ‘open’ for us to wander, just like the two main characters do.

Atsuro Watabe as Akira Nutahara, the newcomer in Omine

Again we receive a lot of information. Of course not as much as we do in Ichikawa’s film. The editing seems hasty, austere and I don’t know if this is Harada’s intention, in order to give it a bit of boost regarding the Western audiences. Note that the film was introduced in Berlin Film Festival. I believe it would be much better if the film would be half an hour longer. This should allow Harada to develop a few characters a bit better. Nevertheless, Harada is a great cinematographer. He manages to bring harmony and a sense of spirituality with his camerawork, through open spaces and beautiful colors. The overtones are gloomy but they are nicely infused with the vivid landscape. He achieves this by taking us for a walk through the beautiful Omine forests or by focusing towards the clear sky. His naturalistic way of shooting is effectively poetic and moody at the same time. So are his skills as an auteur in general. I believe his ‘Kamikaze Taxi’ is one of the best films shot in the 90’s. His ‘Bounce Ko Gals’ is also an amazing masterpiece, among many other of his titles. If you haven’t watched those excellent, truly modern masterpieces of contemporary Japanese filmmaking you definitely need to, as soon as possible.

The final sequence where the Bonimiya clan is heading for a ritual (except the fact it isn’t exactly such an innocent one but I won’t reveal anything) in order to ‘cleanse’ the family’s name in 9 centuries is beautifully shot. Furthermore, we take a look inside the community members, who look upon these women as some kind of witches. This is quite a revealing point of view regarding the modern Japanese province. Harada shoots this certain sequence in black and white removing any hint of color, only to bring it back after the conclusion of this ‘ritual’. This kind of ritual ends up in something totally different, inhuman. In a way he indicates that through this ritual certain modern human values, even life itself, are cancelled by ‘superstitions’. They are presented in such way in order to distort the nobility of the term ‘tradition’. It’s the human spirit and the perception of what’s right or wrong that pushes people towards these paths. When such perceptions exist there will always be someone present to take advantage of them.

I truly loved Yuki Amami's performance as Miki. She’s everything that needs to be as the troubled woman, whohas physically transformed as she falls in love with the young man. She knows she probably does the wrong thing, she’s been there again in the past, practically stigmatizing her life, but she learns how to live with this mark on her ‘skin’. At the same time, she wants to escape, to transform into something new, unknown to her. She sees visions of her mother who explains what’s happening to her regarding the inugami myth, but we don’t know what’s real or not.  She becomes serene, sensual, angry, decisive, even afraid when she exactly needs to be. She delivers her character  perfectly, so the viewer is able to feel through her. She managed to make me care about this woman who’s found in the eye of the storm, once again in her life. It’s quite obvious that Mrs. Amami is a skilled actress as she was also a member of the Takarazuka Revue, a theatrical collective and school which consists strictly of women who perform all parts, male either female, in theatrical plays. The male performances are also meticulously delivered as well, but the female leading role shines, practically stealing the show.

The Bonomiya ritual

Buy This Title

Publisher: Best Medicine
Release date: February 2005
Running time: 106 minutes
This UK DVD is region code 2. The edition includes one disc. The film is in Japanese and has English subtitles.
Picture format is 1.78:1 widescreen PAL and the sound DTS Surround Japanese, subtitles are available in English


On the whole, I think that these two films prove how versatile Japanese cinema is. You can be versatile if you are clever enough to take hints from your close environment to create something on your own. Of course the birth of a concept is not something which falls from the sky, the creator is destined to go back to the main sources, constantly . But think this is the real power behind Japanese filmmakers and their creativity, despite their time of being. Symbolism (among many others) as a cultural trait is definitely one of Japan’s main creative weapons. This is excluded from the medium  it is applied, a film or a building, a painting or a camera angle. As a man living in Greece, a nation where symbolism used to be an artistic basis, I can easily relate in such a way of storytelling. I can perceive what is caused through this transaction, for at least most of the times I get to have such an experience. Mythology, superstitions, the closed family circle and hidden secrets, patriarchs and the connection with an ancient spirit, practically unknown (what we know about our true historic past is nothing compared to what we really don’t) past. Ichikawa and Harada are undoubtedly versatile filmmakers, it’s clear through their filmography. They are clever and capable enough to draw a myth from the past. Each one of them manages to adjust this folkloric trait according to his needs. It seems easy work from the audience's point of view, but it isn’t, as the trap of ending up in endless clichés is there.

In this case, we get two absolutely different films but with a few and very minor common characteristics. In the end, they both show two oppressive circles of patriarchy and the victims, younger people guided by other victims, mothers and siblings. This is also a form of tragedy. A tragedy just like the one Sophocles gave us almost two thousand and a half years ago.

Buy This Title

Publisher: Kadokawa
Release date: July 2007
Running time: 146 minutes and 134 minutes
This Japanese DVD is region code2. The edition includes three discs. The films are in Japanese and have Japanese subtitles.
Picture format of „The Inugami Family“ is 1.50:1 Anamorphic NTSC and the sound Dolby Digital 2.0 Mono Japanese, subtitles are available in Japanese
Picture format of „The Inugamis“ is 1.78:1 Anamorphic NTSC and the sound Dolby Digtital 5.1 and Dolby Digital 2.0 Stereo Japanese, subtitles are available in Japanese
Special features:
-The Inugamis Premiere
-Ichikawa Kon Documentary
-Deleted Scenes
- Kindaichi Data File
- Inugami Magician - The World of Ichikawa Kon
- Kindaichi Kosuke Making Of
- "Understood!" Another Version



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Symchuk,24,Adam John,6,Adam Wong,1,Address Unknown,1,Aditya Vikram Sengupta,2,Adoor Gopalakrishnan,2,Adriana Rosati,49,Ae Dil Hai Mushkil,1,Afghanistan,3,Age of Innocence,1,Age of Shadows,1,Ahmed Lallem,1,Aihara Hiro,1,Ajantrik,1,Ajji,2,Akihiko Shiota,2,Akihiro Toda,1,Akio Fujimoto,1,Akira Ikeda,2,Akira Kurosawa,2,Akiyuki Shinbo,2,Alan Lo,1,Alan Mak,1,Ale Amout,1,Alex Oost,1,Alexander Knoth,1,Alexandra Cuerdo,1,Alfed Cheung,1,Ali Asghar Vadayeh Kheiri,1,Alipato,1,Along with the Gods: The Two Worlds,1,Ambiguous Places,2,Amir Masoud Aghababeian,1,Amir Muhammad,2,Amit Madhesiya,1,Amit V Masurkar,1,Amitabh Reza,1,Amma Ariyan,1,Anand Singh,9,Anantaram,1,Ananya Kasaravalli,1,Andrew Loh,1,Andrew Thayne,11,Andrew Wong Kwok-huen,1,Andy Lau,1,Andy Willis,1,Angamaly Diaries,1,Angels Wear White,1,Anime,3,Animesh Aich,1,Ann Hui,6,Ann S. Kim,1,Anna Bliss,3,Anqi Ju,1,Anshul Chauhan,2,Anthony Pun,1,Antiporno,2,Anurag Basu,1,Anurag Kashyap,1,Anushka Meenakshi,1,Anysay Keola,1,Apocalypse Child,1,Apprentice,1,Aqerat,2,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Aroused by Gymnopedies,1,Arrow,4,Art Film Fest Kosice,10,Article Films,3,Asamapta,1,Asghar Farhadi,1,Asha Jaoar Majhe,2,Ashley Cheung,1,Asian Classics,57,Asian Film Vault,1,Ask the Sexpert. India,1,Assamese,1,Atanu Ghosh,1,Aya Hanabusa,1,Aya Itabe,1,Aynabaji,1,Baasansuren Nyamdavaa,1,Baby Ruth Villarama,1,Bad Poetry Tokyo,4,Badrul Hisham,1,Badrul Hisham Ismail,1,Baggage,1,Bala,2,BAMY,2,Bang Rajan,1,Bangkok Nites,3,Bangladesh,9,Banjong Pisanthanakun,1,Banmei Takahashi,1,Bash Mohammed,1,Battle of Memories,2,Battleship Island,1,Bauddhayan Mukherji,3,Bayin,1,Before We Vanish,2,Begum Jaan,2,Behind the Camera,1,Belgium,1,Ben Stykuc,12,Bengal,3,Bengali,10,Benny Chan,1,Best Movies,1,BFI,1,Bhutan,11,Big Boy,1,Big Tits Dragon,1,Billy Joe,2,Birdshot,2,Bitter Money,1,Black,1,Blade of the Immortal,1,Bleeding Steel,1,Bloodrunner Zero,1,Bloody Muscle Builder in Hell,1,Bluebeard,1,Boat People,1,Bollywood,6,Boo Junfeng,1,Born Bone Born,1,Branded to Kill,2,Breathless,1,Broken Sword Hero,1,Brothers in Heaven,1,Bunny Drop,1,Burma,1,Burning Birds,2,Bystanders,1,Byun Sung-Hyun,2,Call Boy,2,Call of Heroes,1,Cambodia,8,Camera Japan,10,Caniba,1,Cannes Film Festival,5,Céline Tran,1,Chan Chi-Fat,1,Chandni,1,Chang,2,Chang Tso-chi,1,Chang Zheng,1,Chapman To,1,Chen Hung-i,2,Chen Kaige,1,Chen Kuo-fu,1,Chen Mei-Juin,1,Cheng Cheng Films,2,Cheung Yin-kei,1,Children Heaven,1,China,83,China Blue,1,China Yellow,1,Chinese Policy Institute,7,Chinese Shadows,5,Chinese Visual Festival,1,Ching-lin Chan,1,Chiu Sin Hang,1,Cho Keun-Hyun,1,Cho Sun-ho,1,Choi Jin-ho,1,Choi Jin-won,1,Choi Min-sik,1,Chookiat Sakveerakul,1,Chris Berry,1,Chronicles of Hari,1,Chu Yuan,1,Chung Ji-young,1,Chung Mong-Hong,1,Chungking Express,1,CineAsia,2,Cinemawala,1,City of Rock,1,Claire's Camera,1,Close Knit,1,Close-Knit,4,Cloudy,1,Cocolors,3,Coffeemates,1,Cold Fish,1,Colette Balmain,15,Colour of the Game,1,Come Drink With Me,1,Competition,2,Confessions,1,Contact Info,1,Corey Yuen,1,Creative Visions: Hong Kong Cinema,1,Criminal City,1,Crocodile,1,Crosscurrent,2,Crows Zero,1,Cyrano Agency,1,Da Peng,1,Daguerreotype,1,Daigo Matsui,1,Daihachi Yoshida,1,Daisuke Gotô,2,Daisuke Miura,2,Daisuke Miyazaki,5,Danny and Oxide Pang,1,Dante Lam,1,Dark Side of the Light,1,Dark Wind,1,David Chew,7,David Chew.,1,David Shin,1,Davy Chou,1,Dawn of the Felines,2,Dawn Wind in My Poncho,1,Ddongpari,1,Dead Friend,1,Dead Sushi,1,Deadly Outlaw: Rekka,1,Dear Zindagi,1,Dechen Roden,1,Dechen Roder,1,Deepak Rauniyar,1,Derek Chiu,2,Derek Hui,2,Derek Tsang,2,Destruction Babies,1,Devashish Makhija,1,Devasish Makhija,1,Diary of June,1,Dibakar Banerjee,1,Didi Saleh,1,Die Tomorrow,1,Digger,1,Dileesh Pothan,1,Ding Shen,1,Ding Sheng,2,Dismembered,1,Documentaries,34,Documentary,4,Doenjang,1,Don Anelli,34,Dong Yue,1,Double Life,1,Double Vision,1,Dr. Heo,1,Dragonfly Eyes,1,drama,1,Duckweed,1,Duelist,1,Dust of Angels,1,East Winds Film Festival,1,Eastern Promises,1,Eddie Cahyono,1,Edmund Yeo,5,Educating Yuna,1,Eiji Uchida,3,Eliana,1,Emma aka Mother,1,Emmanuel Horlaza,1,Enter the Warriors Gate,1,Eric Tsang,1,Erich Khoo,1,Erik Matti,1,Erotic Diary of an Office Lady,1,Eternal Summer,1,Eureka,7,Evil and the Mask,1,Exploitation,46,Explosion,1,Fabricated City,1,Fantasia International Film Festival,24,Far East Film Festival,13,Fatal Countdown: Reset,2,Fathers,1,Faye Wong,1,Features,27,Feautures,1,FEFF20,2,Fel,8,Feng Xiaogang,1,Fermented,1,Festivals,18,Filmddo,1,Filmdoo,22,Fire Lee,1,Fires on the Plain,1,Fireworks,1,Fireworks Should We See It from the Side or the Bottom?,2,Five Flavors Festival,3,Five Flavours,29,Five Flavours Festival,20,Florence Chan,1,Flying Fish,1,Forbidden Door,2,Forgetting Vietnam,1,Fove Flavours,1,France,3,Fraser Elliott,1,Free and Easy,3,From Vegas to Macau III,1,Fruit Chan,2,Fujian Blue,1,Fullmetal Alchemist,1,Fumihiko Sori,1,Funeral Parade of Roses,1,Funuke Show Some Love,1,Fuyuhiko Nishi,1,Gangs of Wasseypur,1,Gareth Evans,3,Gauri Shinde,1,Geng Jun,3,Ghafara Harashta,1,Giddens Ko,1,Gillian Anderson,1,God Man Dog,1,God of War,1,Godspeed,2,Godzilla: Planet of the Monsters,1,Going the Distance,1,Golden Cousin,2,Golden Horse Awards,1,Golden Slumbers,1,Good -Bye Silence,2,Goodbye Grandpa,2,Gordon Chan,1,Goro Miyazaki,1,Grab the Sun,1,Guo Jian-yong,2,Gurgaon,1,H. Tjut Djalil,1,H. Vinoth,1,Haibin Du,1,Han Han,1,Han Jie,1,Hanae Kan,1,Hanagatami,1,Hanging Garden,1,Hanuman,1,Haobam Paban Kumar,1,Hapkido,1,Happiness,1,Happy Together,1,Harikatha Prasanga,1,Harishchandrachi Factory,1,Hashiguchi Takaaki,1,Haunters,1,Have A Nice Day,1,HBO,2,Heart Attack,1,Heather Lenz,1,Heiward Mak,1,Helldriver,1,Hello Goodbye,1,Helsinki Cine Aasia Festival 2018,5,Hema Hema: Sing Me a Song While I Wait,1,Hemlock Society,1,Her Own Address,1,Herman Yau,4,Heung-Boo: The Revolutionist,1,Hidden Gems,77,Hideen Gems,1,Hideo Sakaki,1,High-Kick Girl,1,Highheels,1,Hindi,10,Hiro Aihara,1,Hirobumi Watanabe,2,Hirokazu Koreeda,4,Hiroshi Ando,1,Hiroshi Shoji,1,Hiroshi Teshigahara,1,Hiroyuki Kawasaki,1,Hiroyuki Seshita,1,Hisayasu Sato,1,HKETO,1,Ho Yuhang,3,Holy Island,1,Honeygiver Among the Dogs,2,Hong Ki-Seon,1,Hong Kong,50,Hong Kong Godfather,1,Hong Sang-soo,2,Hongkong,1,Horror,4,Hou Hsiao-hsien,1,Hsien Chun-yi,1,Hsu Hsiao-ming,1,Huang Fend,1,Huang Hsin-Yao,1,Huang Huang,1,Huang Hui-chen,2,HUANG Xi,1,Huang Ying-hsiung,1,Husband Killers,1,Hwang Dong-Hyuk,1,Hwang Jung-min,1,I Am A Hero,1,I Am God,1,I Have Nothing to Say,2,I Lin-liu,1,I Saw the Devil,1,I Wish,1,I-Lin Liu,18,ICA,3,Icarus Films,9,IFFLA,5,IFFR,2,Im Kyeong-soo,1,Imran Firdaus,1,Imran Fridaus,1,Imtiaz Ali,2,In a Defiled World,3,In the Absence of the Sun,1,In this Corner of the World,3,Inchul Lee,1,India,74,Indonesia,21,Initiation Love,1,International Chinese Film Festival,1,International Film Festival Rotterdam,23,Interview,3,Interviews,90,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Inuyashiki,1,Ip Man: The Final Fight,1,Iran,8,Isao Yukisada,2,Ishmael Bernal,1,Ishqiya,1,Isora Iwakiri,1,Iswar Srikumar,1,J.P. Sniadecki,1,Jaatishwar,1,Jab Harry Met Sejal,1,Jackie Chan,6,Jagat,1,Jagga Jasoos,1,Jailbreak,4,James Mudge,1,Jang Chang-won,1,Jang Hoon,1,Jang Joon-hwan,1,Japan,263,Japan Cuts,15,Japan Film Festival Australia,1,Japan Filmfest Hamburg,16,Japan Foundation Touring Programme,3,Japan the Emperor and the Army,1,Japan. Reviews,1,Japanese Film Festival Australia,2,Jean-Marc Therouanne,1,Jean-Paul Ly,1,Jeong Byeong-gil,1,Jeong Jae-eun,1,Jeong Yun-Cheol,1,Jeonju International Film Festival,3,Jero Yun,1,Jess Teong,1,Jesse V. Johnson,1,Jet Leyco,2,Jia Zhangke,2,Jigoku,1,Jimmy Henderson,4,Jin Xingzheng.,1,Jithin K Mohan,16,Joby Varghese,1,Joe Odagiri,2,John Abraham,1,Johnnie To,2,Johnny Ma,1,Joko Anwar,6,Jonathan Cianfrani,1,Jonathan Li,1,Jonathan Wilson,10,Jonathan Yi,1,Joo Ji-hong,1,Josh Parmer,1,Journey of the Tortoise,1,Joy of Man's Desiring,1,July Jung,1,Jun Ichikawa,1,Jun Li,1,Jun Tanaka,3,Jung Byung-gil,2,Jung Sik,1,Jung Yoon-suk,1,Junichi Kajioka,2,Junk Head,1,Junpei Mizusaki,1,Justice in Northwest,1,K-dramas,12,Kaasan Mom’s Life,1,Kala,1,Kam Ka-Wai,1,Kamila Andini,1,Kaneto Shindo,2,Kang Je-gyu,1,Kang Yoon-Sung,2,Kara Hui,1,Karan Johar,1,Katsuya Tomita,3,Katsuyuki Motohiro,1,Kaushik Ganguly,1,Kazuya Shiraishi,2,kdrama,1,Ke Guo,1,Keep Calm and Be a Superstar,1,Kei Chikaura,1,Kei Horie,1,Kei Ishikawa,1,Keishi Otomo,1,Keishimi Oto,1,Ken and Kazu,1,Kengo Yagawa,1,Kenichi Ugaba,1,Kenichi Ugana,1,Kenichi Watanabe,1,Kenji Yamauchi,1,Kentaro Hagiwara,1,Kesang P. Jigme,1,Kfc,2,Khavn,2,Khosla Ka Ghosla!,1,Khushboo Ranka,1,Khyentse Norbu,2,Kiko Boksingero,1,Kill me,1,Killing Beauty,1,Kim Bong-han,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hong-Sun,1,Kim Hyun-seok,1,Kim Jee-woon,4,Kim Jin-Mook,1,Kim Jong-Kwan,1,Kim Joo-hwan,1,Kim Ki-duk,5,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Seong-hoon,1,Kim Tae-kyeong,1,Kim Whee,1,Kim Yong-hwa,1,King Hu,2,Kingyo,2,Kirsten Tan,1,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,5,Kôbun Shizuno,1,Kodoku Meatball Machine,1,Koji Fukada,1,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,2,Konkona Sen Sharma,1,Konrad Aderer,2,Korea,2,korean drama,1,Kotoko,1,Kristina Aschenbrennerova,1,Krzysztof Pietrzak,1,Kun-Yu Lai,14,Kung Fu Yoga,1,Kusama Infinity,1,Kwak Kyung-taek,2,Kyoko Miyake,2,Kyriacos Kyriacou,3,Labour of Love,1,Lady of the Lake,1,Lady Snowblood,2,Lam Wingsum,1,Laos,3,Laughing Under the Clouds,1,Lawrence Ah Mon,1,Le Binh Giang,2,Le Bình Giang,2,Leandro E. Seta,2,Lebanon,1,Lee An-gyu,1,Lee Byeong-Hun,1,Lee Byung-Hun,1,Lee Chang-Hee,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Kwang-kuk,1,Lee Kyoung-mi,1,Lee Myung-se,1,Lee Sa-rang,1,Lee Seo-goon,1,Leena Alam,1,Legend of the Demon Cat,1,Legend of the Mountain,1,Leo Zhang,1,Leon Lai,1,Leste Chen,3,Leung Wing-Fai,1,Ley Lines,1,Lhaki Dolma,1,Li Cheuk-shing,1,Li Hongqi,1,Li Ruijun,1,Liang Ying,1,Life on the Line,2,Lijo Jose Pellissery,1,Like Father,1,Like Son,1,Lim Kah-wai,2,Lim Sang-yoon,1,Lists,13,Little Big Soldier,1,Little Forest,2,Little Shop of Grotesque,1,Little Shop of Horrors,1,Liu Jian,1,Liu Jiayin,2,Liu Yang He,1,Liu Yang River,1,Liu Yulin,1,Live from Dhaka,2,Live Up To Your Name,1,Loi Bao,1,London Korean Film Festival,5,Los Angeles Indian Festival,22,Lost Serenade,1,Love,1,Love and Other Cults,3,Love Education,1,Lovely Man,1,Lovers Are Wet,1,Lovesick,1,Lowlife Love,1,Lucien Castaing-Taylor,1,Lucky Kuswandi,1,Lyberis,4,Machines,1,Mad Tiger,1,Mad World,5,Made in Hong Kong,2,Madman,2,Mahde Hasan,1,Mahesh Narayanan,1,Mai Chan's Daily Life: The Movie,1,Majid Majidi,1,Makoto Shinkai,1,Malayalam,7,Malaysia,17,Mama,1,Mamoru Hosoda,1,Manish Gupta,1,Manny Araneta,2,March Comes in like a Lion,1,Maria Georgiou,26,Mario Cornejo,1,Mark Gallagher,1,Marlina the Murderer in Four Acts,3,Mary Jirmanus Saba,1,Masaaki Yuasa,2,Masaan,1,Masaharu Take,1,Masahiro Shinoda,1,Masakazu Sugita,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,2,Masato Ozawa,2,Masatoshi Kurakata,1,Matt Cooper,19,Matthew D. Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Mayaanadhi,1,Mayurakshi,1,Meghe Dhaka Tara,1,Memoir of a Murderer,1,Merantau,1,Mermaid,1,Miaoyan Zhang,1,Michael Haertlein,1,Michelle Hung Tsz-ching,2,Midi Z,1,Midnight Runners,1,Midori Impuls,4,Midori The Camelia Girl,1,Mikhail Red,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Ming-Yeh Rawnsley,1,Minoru Kunizawa,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,2,Mongolia,2,Monika S-r,1,Monologue,1,Moon Lovers,1,Moon So-ri,1,Mototsugu Watanabe,4,Mouly Surya,3,Mountains May Depart,2,Mourning Forest,1,Movie,2,Moving,1,Mr Long,1,Mr. Socrates,1,Mrs Fang,1,Mrs K,2,Mukti Bhawan (Hotel Salvation),1,Mumon: The Land of Stealth,1,Museum,1,My Beloved Yak,1,My Dad and Mr Ito,1,My Heart is that Eternal Rose,1,My Hero Chihiro,1,Myanmar,1,Mystics in Bali,1,Nah Hyeon,1,Namiya,1,Nanachan,1,Nandita Roy,1,Naoko Ogigami,5,Naomi Kawase,3,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,2,Neeraj Ghaywan,1,Neko Atsume House,1,Neomanila,2,Nepal,1,Nervous Translation,1,Neuchâtel International Fantastic Film Festival,1,Never Ending Blue,1,New Neighbor,2,New World,1,New York Indian Film Festival,1,News,13,Newton,1,Nicholas Poly,4,Night Bus,1,Night is Short,1,Night is Short Walk on Girl,1,Night of the Felines,1,Nikhil Allug,1,Nikkatsu,1,Nikola Cekic,1,Nila Madhab Panda,2,Ninja Pussy Cat,1,Nirbaak,1,Niwatsukino Norihiro,1,No Where,2,No. 1 Chung Ying Street,2,Noboru Iguchi,1,Noboru Tanaka,1,Noboru Uguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,2,Nobuyuki Takeuchi,2,Noise,2,Non-fiction Diary,1,Norbu,1,Noriaki Tsuchimoto,1,Norihiro Niwatsukino,1,Norjmaa,1,Norman England,2,North Korea,2,Now Here,2,Nurse Diary: Beast Afternoon,1,NYAFF,34,Nyamdavaa Baasansuren,1,NYIFF,1,Odd Obsession,1,Oh In-Chun,1,Old Boy,2,Old Stone,1,Old-School Kung-Fu Fest,3,Omar Rasya Joenoes,4,On the Job,1,On The Line Festival,3,On the Run,1,One Cut of the Dead,1,One Man's China,1,Onibaba,1,Operation Red Sea,1,Ophilia,1,Ordinary Person,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,12,Osamu Sato,1,Our Happy time,1,Our Time Will Come,1,Outrage Coda,1,Over the Fence,1,Oxhide,1,Oxhide II,1,Oxide Pang,1,Pad Man,1,Padmavati,2,Pai Kau,2,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,293,Paresh Mokashi,1,Park Chan-wook,2,Park Hee-joon,1,Park Hoon-Jung,3,Park In-je,1,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Party Round the Globe,1,Passage of Life,1,Past and Future,1,Patrick Hofmeister,72,Patrick Tam,1,Pedro Morata,10,Peerachai Kerdsint,1,Pelden Dorji,1,Pema "Tintin" Tshering,1,Pema Tshering,1,Pen-Ek Ratanaruang,2,Peng Xiaolian,1,Pengfei,2,Pepe Diokno,1,Peque Gallaga,1,Perfect Blue,2,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,19,Pieter - Jan Van Haecke,4,Pieter-Jan Van Haecke,8,Pink Eiga,15,PinkEiga.TV,6,pinku eiga,1,Pinneyum,1,Poet on a Business Trip,1,Poolside Man,1,Pop Aye,1,Posto,1,Prakasan,1,Press Release,2,Priya Giri Desai,1,Prophecy,1,Proshoon Rahmaan,2,Psychic,1,Pumpkin and Mayonnaise,1,Queen of Triads,1,R.Balki,1,Rabbit and Lizard,1,Radiance,1,Rage. Lee Sang-il,1,Rahul Jain,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Rajkumar Gupta,1,Ram,1,Ram Gopal Varma,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Ravine of Goodbye,1,Re:Born,1,Real,1,Realism,1,Red Beard,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Resistance at Tule Lake,1,Respeto,2,Resurrection,1,Revenge: A love story,1,Review,9,Reviews,306,Reviews.,2,Reviews. Panos Kotzathanasis,1,Rima Das,1,Riri Riza,3,Ritwik Ghatak,2,River of Exploding Durians,2,River's Edge,3,Robin Weng,1,Roger Lee,2,Roman Porno,1,Ronja,1,Rouge,1,Rouven Linnarz,1,Roya Sadat,2,Running on Karma,1,Russia,1,RV: Resurrected Victims,1,Ryoo Seung-wan,2,Ryota Sakamaki,1,Ryu Kaneda,1,Ryuki,1,Ryutaro Ninomiya,2,S. Korea,74,S.Korea,2,Saayak Santra,9,Sabrina Baracetti,1,Sabu,4,Sade Sato,1,Salaam Bombay,1,Samui Song,1,San Diego Asian Film Festival,17,San Diego Film Festival,2,Sanjay Leela Bhansali,2,Sanjeewa Pushpakumara,2,Sankha Ray,33,Sarita Khurana,1,Satan's Slaves,3,Satoru Hirohara,1,Satoshi Kon,3,Satya,1,Satyajit Ray,2,Say Yes,1,Sayandeep Bandyopadhyay,6,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sekigahara,1,Serga Mathang,1,Sexy S.W.A.T. Team,1,Sha Po Lang,1,Shake Rattle and Roll,1,Shakti Sounder Rajan,1,Shanjhey Kumar Perumal,1,Shanker Raman,1,Shaw Brothers,2,She Remembers He Forgets,2,She's the Boss,1,Shehjar,1,Shiboprosad Mukherjee,1,Shift,2,Shigeru Umebayashi,1,Shikhar Verma,13,Shikhar Verna,3,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinichiro Ueda,1,Shinji Iwai,1,Shinji Somai,2,Shinji Sômai,1,Shinjuku Swan,1,shinjuku Swan II,1,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinsuke Ogawa,1,Shinsuke Sato,2,Shinya Tsukamoto,4,Shireen Seno,2,Shirley Abraham,1,Shock Wave,1,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,9,Shotaro Kobayashi,1,Shu Qi,1,Shuna Iijima,1,Shunji Iwai,2,Shutter,1,Shuttle Life,2,Shyam Ramsay,1,Siddiq Ahamed,1,Sidharth Bharathan,1,Sidi Saleh,1,Signature,1,Silent Mist,1,Silver Spleen,2,Singapore,3,Singh Anand,1,Singing Chen,1,Sinophone,1,Sion Sono,10,Siti,1,Sixth Sense Hooker,1,Slavemen,1,Sleep Curse,1,Small Talk,2,Smriti Mundhra,1,Sogo Ishii,2,Soichi Umezawa,1,Solanin,1,Solitude,1,Solo,1,Someone To Talk To,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,22,Sopawan Boonnimitra,1,Sopon Sakdapisit,1,Soul,1,Soul Mate,1,SoulMate,2,South Korea,24,Sri Lanka,3,Sridevi,1,Srijit Mukherji,8,Stammering Ballad,1,Stanley Kwan,1,Stanley Tong,1,Steel Rain,1,Stephen Chow,1,Stephen Fung,2,Steve James,1,Still the Water,1,Stoneman Murders,1,Story in Taipei,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,4,Subenja Pongkorn,2,Suffering of Ninko,2,Sugihara Survivors: Jewish and Japanese,1,Suicide Club,1,Sukita: The Shoot Must Go On,1,Suman Mukhopadhay,1,Summer Snow,1,Sun-ho Cho,1,Sunao Katabuchi,3,Sunday Beauty Queen,1,Sung-hong Kim,1,Sunk Into the Womb,1,Sushama Deshpande,1,Susumu Hirasawa,1,Sweating the Small Stuff,2,Sylvia Chang,1,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Taiwan,28,Takaaki Hashiguchi,1,Takahide Hori,1,Takahiro Miko,1,Takahisa Zeze,1,Takao Nakano,1,Takaomi Ogata,4,Takashi Miike,10,Take Care of My Cat,1,Take Me to the Moon,1,Take Off,1,Takeo Kikuchi,2,Takeshi Kaneshiro,1,Takeshi Kitano,1,Takuro Nakamura,2,Talop Wangchuk,1,Tamil,4,Tamura Senichi,1,Tang Seng Kiat,2,Tanit Jitnukul,1,Tanvir Ashraf,2,Taste of Rice Flower,2,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Tatsumi Kumashiro,1,Teddy Soeriaatmadja,1,Teenkahon,1,Teppei Nakamura,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,21,Thanatos Drunk,1,That's It,1,The Adventurers,2,The Apology,1,The Bad,1,The Blue Redemption,1,The Boy and the Beast,3,The boy from Ipanema,1,The Brink,1,The Chase,1,The Cinema Travellers,1,The Crawler in the Attic,1,The Crazy Family,1,The Day After,1,The Detective,1,The Discloser,1,The Dollhouse,1,The elephant and the sea,2,The Empty Hands,1,The Executioner,1,The Eye's Dream,1,The Forest Whispers,1,The Forsaken Land,1,The Fortress,1,The Gangster's Daughter,1,The Girl Who Never Knew War,1,The Golden Fortress,1,The Good,1,The Great Buddha+,1,The Great Passage,1,The Hole,1,The Hungry Lion,1,The Indian Film Festival of Los Angeles,2,The Inugami Family,1,The Iron Ministry,1,The Island That All Flow By,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Last Executioner,1,The Last Painting,1,The Long Excuse,1,The Looming Storm,1,The Lowlife,1,The Magic Blade,1,The Man Without a Map,1,The Mayor,1,The Merciless,2,The Mermaid,1,The Muse,1,The Naked Island,1,The Name,1,The Net,1,The Night of the Earthquake,1,The Outlaws,1,The Prison,1,The Promise,1,The Raid,1,The Raid 2,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,the Robber's Daughter,1,The Room,1,The Sacrament,1,The Salesman,1,The Seen and Unseen,1,The Shoot Must Go On,1,The Sleep Curse,1,The Snow King,1,The Sower,2,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Suicide Chain,1,The Swindlers,1,The Table,1,The Third Murder,1,The Thousand Faces of Dunjia,1,The Tiger: An Old Hunter's Tale,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Tooth and the Nail,1,The Truth Beneath,1,The Vanished,1,The Villainess,3,The Violin Player,1,The Way We Are,1,The Weird,1,The Windmill Palm Grove,1,Theeran Adhigaaram Ondru,1,Third WIndow,1,This Is Not What I Expected,1,This Is Not What I Expected!,1,Thondimuthalum Driksakshiyum,1,Thop Nazareno,1,Three Sisters,1,Three Times,1,Tiffany Hsiung,1,Tik Tik Tik,1,Tôkaidô Yotsuya kaidan,1,Tokyo Ghoul,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Torico,2,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshihisa Yokoshima,3,Toshimasha Kobayashi,1,Toshio Matsumoto,1,Toshiya Fujita,1,Toshiyuki Teruya,1,Town in a Lake,1,Traces of Sin,1,Trailers,85,Train to Busan,1,Tran Ham,1,Translated articles,1,Trapped,1,Travellers and Magicians,1,Treb Monteras II,2,Trinh T. Minh-Ha,3,Triple Threat,1,True Fiction,1,Tsai Ming-liang,2,Tulsi Ramsay,1,Twenty Two,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Typhoon Club,1,Udine,3,Ulam Main Dish,1,Um Tae-hwa,1,Uma,1,Unbowed,1,Uncovered,1,Up Down and Sideways,1,V.I.P.,1,Vagabond,1,Vaishali Sinha,1,Vampire Clay,1,Vampire Cleanup Department,2,Vanishing Time A Boy Who Returned,1,Vannaphone Sitthirath,1,various,2,Varnyathil Aashanka,1,Verena Paravel,1,Vesoul International Film Festival,20,Victor Vu,1,Vidya Balan,1,Vietnam,6,Vikram Zushi,1,Vikramaditya Motwane,1,Village Rockstars,1,Vimukthi Jayasundara,1,Vinay Shukla,1,Vincent Kok,1,Violated Angels,1,Visitor Q,1,Vital,1,Vitaly Mansky,1,Vivien Qu,1,Voyage to Terengganu,1,Wai Ka-fai,1,Walk on Girl,1,Walking Past the Future,1,Wang Bing,3,Wang Chao,2,Wang Lung-wei,1,Wang Ming-tai,1,Warriors of the Dawn,2,We Make Antiques,1,Weeds on Fire,1,Wei-Hao Cheng,1,Wellgo USA,2,West North West,2,What a Man Wants,1,What A Wonderful Family 2,1,What Time Is It There?,1,Whispering Corridors,1,Whispering Star,1,White Sun,1,Who Killed Cock Robin,1,Whore Angel,1,Wilson Yip,1,Wiman Rizkidarajat,1,Wine War,1,Winter Vacation,1,With Prisoners,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Won Shin-Yeon,1,Wong Chun,3,Wong Jing,2,Wong Kar-wai,2,Woo Ming Jin,1,Wrath of Silence,1,Xaisongkham Induangchanthy,1,Xin Yukun,1,Xu Bing,1,Ya-che Yang,1,Yamato (California),4,Yan Pak Wing,2,Yang Chao,2,Yang Ik-june,1,Yang Jong-hyeon,1,Yang Woo-seok,1,Yao Tian,1,Yash Chopra,1,Yasmin-san,1,Yeon Sang-ho,2,Yes Madam,1,Yeti Obhijaan,2,Yim Soon-rye,2,Yin Liang,1,Yiu-wai Chu,1,Yoji Yamada,1,Yoo Ha,1,Yoon-chul chung,1,Yoonsuk Jung,1,Yosep Anggi Noen,1,Yoshihiro Hanno,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,3,Yoshimasa Jimbo,1,Yoshinari Nishikori,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,You Losers!,1,Your Name,1,Youth,1,Yu Aoi,2,Yu Irie,1,Yu Sang-wook,1,Yuen Chor,1,Yuen Woo-ping,1,Yuji Shimomura,1,Yûji Tajiri,2,Yujiro Harumoto,2,Yuki Tanada,1,Yukihiko Tsutsumi,2,Yukuhiro Morigaki,2,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yutaro Nakamura,1,Yuya Ishii,2,Zakka Films,2,Zen,1,Zhang Lu,1,Zhang Nan,1,Zhang Yimou,1,Zig Dulay,1,Zombiology: Enjoy Yourself Tonight,1,Zoo,1,Zuairijah Mou,1,Zuri Rinpoche. Bhutan. Five Flavours,1,
Asian Film Vault: The Inugami ‘effect’ (‘The Inugami Family’ - Kon Ichikawa, 1976) / ‘Inugami’ - Masato Harada, 2001)
The Inugami ‘effect’ (‘The Inugami Family’ - Kon Ichikawa, 1976) / ‘Inugami’ - Masato Harada, 2001)
An essay on both films and a tribute to Kon Ichikawa
Asian Film Vault
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