 | How Omoi saves seven brave kids from 2000 zetsus - Naruto 320 review Jul 10th 2013, 12:46  * Raikage received an incredible news of Omoi deserting the battlefield. His company was under attack and he just went away. In times of war, this is an act of treason. The title of this Naruto episode is "Run, Omoi!". Watch Naruto Shippuden 320 to see what Omoi is up to on TailedFox. See us in Naruto forum to share your opinions and predictions. Download Naruto Shippuden 320 in HD right now!  Kakashi reports to the headquarters that Omoi left the battlefield after saying he needed to step out for a bit. Raikage can't believe it, Guy is furious, deserting in the time of war is considered a treason. Some are convinced that this must be a mistake. Sai agrees saying that Battlefield Seven with Amphibious Search and Destroy Unit was under attack by two thousand white zetsu and when Omoi heard that he went pale and started running. There was another supply unit called Thundercloud from Hidden Cloud nearby that also rushed to help, but never reached the destination. Thundercloud unit are seven 12-13 year old kids. [GoogleAd] Omoi chimes in. He barely finished apologizing for leaving, when he suggested to go in and save these kids. When objections started pouring in, he yawned and ran away. Omoi seemed very confident at abilities of these talented kids. Tsunade asked Kakashi to handle things in Omoi's absence and ordered Inoichi to find at least one Naruto Clone close to Battlefield Seven. Omoi promised to Lord Raikage to get the job done in 1 hour. Omoi may not look the ambitious type, but this time he resolved to impress everyone by saving these kids in half an hour. He even dreamed of becoming the next Raikage. Getting close to the spot he fantasized of red carpet and everyone waiting for him on awe. When he dropped from his dream-cloud however, he spotted two thousand white Zetsu.  Well, it's too late now. The sea of Zetsu noticed him and Omoi has to fight. But how do you fight thousands of opponents with just a bokken? Omoi started getting cornered by Zetsu when Naruto showed up out of nowhere with Rasengan Barrage.  Trees grew up on a spot of each killed Zetsu and soon Naruto and Omoi fought in a forest. Omoi slashed Zetsus vigorously. Naruto had his share of kills. Then, by accident, Omoi slashed his sword just a bit too deep and grazed Naruto's Clone. The Clone disappeared and Omoi found himself alone and in disadvantage against floods of white Zetsu.  The air thickened and became red, when Omoi noticed a red dirt poisonous air exhaled by Zetsus, killing birds flying by. Jumping on the highest point nearby, Omoi noticed a red dirt statue and decided that that's where the seven lost kids are. Taking a deep breath Omoi jumped in the red fog and slashing his way through, he headed towards the statue. 
Getting surrounded and out of better ideas, Omoi jumped into the lake. Realizing that inside the water breathing isn't much easier, he started reaching his limit. Then he noticed a giant turtle farting away nearby. He quickly dived closer and using his lollypop straw he always chews on, Omoi started taking deeps breaths of stinky fart bubbles floating in the water. When he got his fill he took care of the surrounding Zetsu following him in the water by Thunderbolt Lighting Style. Yukai, the team seven leader made a decision to leave the statue and kill as many Zetsus as possible, before they're caught. They stormed out and fought bravely before Yukai got hammered in by one of the Zetsu. Then, with perfect timing, Omoi showed up and without a word (they still couldn't breath) he gestured to put the swords together.  Lightning Style Team Thunder Bomb created by Omoi and four of the kids lit up the entire valley full of White Zetsus. This cleared up air as well and all took a much desired breath of fresh air. Omoi was impressed by the conductivity of the moisture-full red dirt. Having released so much chakra, Omoi could not continue fighting more zetsus, so the remainder of the white zetsu bunch was killed by Yukai and his six comrades.  Killer Bee catches up to Naruto. Bee explained away his "persistent piss" and how he met one of Naruto's clones. All Clones should now be on their way to the battlefields. The next Naruto episode is entitled "Reinforcements Arrive". See us here this Thursday July 11th to watch brand new episode of Naruto Shippuden 321. | | Kankuro vs Chiyo, the fight of two puppet masters - Naruto 319 review. Jul 10th 2013, 12:45  * Granny Chiyo along with her puppets are reanimated. Kankuro along with his teammates will have his hands full dealing with these undead puppets. But wait, some of these puppets may have a soul too... The title of this Naruto episode is "The Soul Living Inside the Puppet". Watch Naruto Shippuden 319 with us right here at TailedFox! See us in Naruto forum to share your opinions and predictions. Download Naruto Shippuden 319 in HD right now!  Mifune's company struggles against another reanimated bunch. After many Samurai died, Mifune orders a retreat. Seeing her opponents are taking to the road, Granny Chiyo controls one of the Samurai with her powerful Chakra Threads. Were it not for Kankuro stepping in to save Mifune against this chakra controlled Samurai, Mifune would surely kill one of his allies. Kankuro explained that there is a special way to fight puppet masters. [GoogleAd] Kankuro turned to Granny Chiyo and introduced human puppet of Sasori. Granny recalled how her grandson Sasori started making human puppets. She expressed her regrets saying that after meeting with Naruto, she was able to do the right thing, which she had hoped, would leave some hope for the future. The sight of Sasori causes Granny Chiyo to recall the painful memories that led her grandson to create his human puppets.  Long ago, Granny Chiyo couldn't bring herself to tell her young grandson the truth about the death of his parents. One lonely night, Sasori imagined his parents like a true puppet master. He controlled two puppets with his chakra pretending to be held by his parents.  Later, along with his friend Komushi, who helped him acquire some rare medicinal ingredients, Sasori started making his first prototype of human puppets. He was an incredibly skillful puppet master. When Komushi lost his right arm in the guard duty, Sasori made him a mechanical arm, that, as Komushi put it, "was better than his old hand". Days later though, Komushi died of infection, or a poison, most likely given to Komushi by Sasori as an experiment to see how well human can handle the rare medicinal ingredients. Granny Chiyo figured it out though and when she confronted Sasori, a human Komushi-like puppet attacked her. When he needed love after losing his parents, his grandma distanced herself. Granny Chiyo knew then, that she lost Sasori.  Kankuro attacked Granny Chiyo in hand to hand combat. His Sasori human puppet followed, but neither could keep up with Granny's sharp techniques. Next, getting an extra push from Kabuto, granny called Reverse Secret White Technique, Esematsu's Ten Puppets and ten Samurai rose from dead. Kankuro was quick enough to severe the chakra lines and ten Samurai fell to the ground.  Kankuro presented Chiyo with his recovered puppets of Sasori, Sasori's mother and father. Granny Chiyo was obviously in pain and full of regrets. What could she have done to save her grandson? Sasori always claimed that he was a human who couldn't become a puppet. Sasori wanted to be a puppet in order to be closer to his parents. Kankuro could feel the sadness and regret through Chiyo's chakra threads. Kankuro further explains to Chiyo that these puppets are like no other. They're made with precision, great craftsmanship and love. Sasori was always able to feel the love of hits parents in these puppets. "Puppets with souls?" Chiyo asked. "That's not all" said Kankuro before he continued. "The love you gave to Sasori's father and mother puppets became part of their souls." Sasori was aware of this and when he was dying he gave these puppets to Kankuro. Kankuro added that he was very grateful when long ago Granny Chiyo saved his brother Gaara. Kankuro may be inexperienced as puppet master, at least in comparison with master puppeteer Granny Chiyo, but he is no stranger to her. He said that he could feel the love in her chakra threads. Kankuro reiterated the love inside these puppets saying: "Please stop granny Chiyo!" Granny recalled her family when they were all alive and suddenly she appreciated the puppets and Sasori's will to entrust them in Kankuro.  Granny looked down and fell like a rock to the ground. Kankuro ran to her bewildered and not knowing what just happened. The Chiyo stood up abruptly and started laughing. It was a puppeteer joke presented to another puppeteer. Then as Kankuro realized he was being tricked and started running for his life, Chiyo showed off her Secret White Technique, Army of Illusions. Story ended on a light note with Granny Chiyo laughing hard as Kankuro dodged the explosions.  Raikage received an incredible news of Omoi deserting the battlefield. His company was under attack and he just went away. In times of war, this is an act of treason. The title of this Naruto episode is "Run, Omoi!" Watch Naruto Shippuden 320 to see what Omoi is up to this Thursday July 4th at 4AM PST right here at TailedFox. See us in Naruto forum to share your opinions and predictions. | | Horizon in the Middle of Nowhere [Season 2] – Review Jul 10th 2013, 00:05 
After claiming sovereignty over the Japanese prefecture Mikawa, the flying city-ship Musashi seeks refuge by retreating to England. While initial talks with the reluctant ruler of England seem promising, sudden chaos ensues as the Musashi finds itself in the middle of a reenactment of the 1588 A.D. invasion of England by the Spanish Armada. Now the students of the Ariadust Academy must use their unique abilities to gain allies while simultaneously defending the resurrected heir to the Mikawa throne, Horizon, against the various world superpowers which are now their enemies. Like season 1, this sequel takes place in a fantasy world, a world of politics, war, and excitement. The cast is still there with Tori who plays the usual fool. He’s the guy who is naked nearly the entire series but finds himself at ease especially with his friends and the person he cares about the most, Horizon. But let’s not forget the other characters in the series. Take for example, Tenzou Crossunite, the guy with the strange hat of a personality. Tenzou has a perverted personality but a heart of gold as he puts his life at risk for the well being of others. He gets a ton of screen time in this sequel and for a big breasted woman that he falls in love with. It’s the greatest romance story ever told. Well, that’s an exaggeration but it does have its flavors. At any rate, Horizon in the Middle of Nowhere II (also known as Kyoukaisenjou no Horizon II) is the direct sequel of the original series. Right from the beginning, there is a battle between the main ship’s crew and a bunch of baseball player wannabees. The main cast returns to battle against many of these enemies particularly four elites who executes their powers in their own rights. Many characters participates in the thrilling action that results in a dramatic yet entertaining fight. It doesn’t really make much sense at times especially with some of the most egoistic speeches coming from some of the cast characters. Yet, I find it entertaining because Horizon in the Middle of Nowhere does what it does best: delivering entertainment. 
The anime has a huge backdrop about Japan being ruled by other countries and the world trying to rewrite past history in order to revive the post-apocalyptic Earth or travel into outer space. The historical references in this futuristic anime are quite amusing and interesting. Many battles from our real past are reenacted with an outcome that can be seen a mile away but it still manages to wow you by how it’s all played out. Many people are turned off by the over the top ecchi and claim this to have no plot but I can assure you it has a great story. Now that I mentioned the ecchi, I should warn you that there is quite a bit of it. The supporting cast got a lot more screen time this go around and most episodes Tori had little to no interaction with anyone else. This really did develop the rest of the cast well and I believe strengthened the anime. Expect to see a lot of abnormally large bouncing boobs every few seconds. To me it is glorious but some can be easily turned off by that. The comedy is another strong point, Everyone would agree that the Battles are the strength and livelihood of Horizon. Great care and detail is put into crafting every scene perfectly. Laugh worthy comedy, magnificently choreographed conflicts, beautifully integrated music, and compelling characters are thrown into a vast and detailed world to pursue their own goals. http://www.youtube.com/watch?v=30RPUXUkAaY All in all, Horizon II is one of the strangest series I’ve ever seen such like the original. It gave me more of those "wtf" moments than nearly every show that I’ve watched so far this year. And by "wtf", there is no question mark to it because the reaction is exciting. The flaw I do see in Horizon and this sequel is that perhaps the story is a bit too blend, nonexistent, and just thrown into pieces scattered across…everywhere. If you liked the first season, then you will enjoy this, and want more when it’s over.
 | | Intentions of Murder – Review Jul 10th 2013, 00:02
Intentions of Murder is one of Shôhei Imamura's quintessential works featuring strong female protagonists during the 1960s. This was perhaps the highpoint of his career, creating several other acclaimed films like The Insect Woman and Pigs and Battleships. Intentions of Murder is one of the longer films he's created and a focused character study of Sadako Takahashi, a middle-aged housewife who lives in rural northern Japan and is dominated by her husband. She has a very plump figure and is not exactly pretty by most standards, she's also not too bright either and clumsy in simple household tasks. However, through the course of the film she shows other admirable personal traits, most of all her survival instinct, and it is exactly this that fascinated Imamura so. There is little subtlety at the start of this film, ten minutes in a burglar breaks into her house and beats and rapes her. She contemplates suicide afterwards (like traditional Japanese society might expect in those days) but does not go through with it, she does not want to leave her son, and keeps the incident secret. Surprisingly, the burglar/rapist Hiraoka returns to Sadako later and tries to confess his love for her. When she denies him he rapes her again, this time she struggles a lot less however, might she be enjoying this? A couple weeks later Sadako discovers that she is pregnant, visits an abortion clinic for information, and there is confronted by Hiraoka again, who claims the child to be his. She tries to get away from him, but when he has a heart-attack on the spot she ends up saving his life. In the meantime her husband has grown suspicious about Sadako's possible affair, which she denies. Sadako meets Hiraoka again and he begs her to run away with him to Tokyo. How the story progresses might surprise more than once, although of course the title certainly hints into a direction. 
Shôhei Imamura created a film riddled with symbolism and analogies in order to make a number of social statements. The 1960s were a transitional period in which gender norms and norms of sexuality underwent great changes, largely beneath the surface. The story of Intentions of Murder is one of a woman awakening to her sexuality, awakening to natural and primal strength contained herein, and keenly rising up against male dominance. But she does not flaunt her newfound strength. She does not make a point of ruling over men. She simply manipulates them subtly. She does anything she needs to survive, and also to care for her offspring. What Intentions of Murder consciously and effectively does is indicate parallels to society. Imamura himself explicitly claimed that his female leads mirrored the masses of society, and his background in social sciences should lend this claim at least some direct credibility. Sadako's emancipation might have been largely abstract and symbolic, but it can be tied in suitably with society's general changing attitudes. It could be said that sexual oppression was at the core of problems facing women in 1960s Japan. Intentions of Murder might be seen a case study of a woman being pushed to resolve this oppression. It is an account of the sexual undercurrent connecting and essentially controlling the more concrete and political issues at hand. In the perennial dream sequence about two-thirds into the film Sadako was offered a choice for instant escape and rebellion, or remaining fixed in the traditional old ways. Neither was a feasible and desirable option for women at the time, for society was not ready for an immediate change: it had to occur more gradually. Women themselves had to undergo their internal and existential transition into self-confidence and agency first, this was the fundamental first step towards future external change. This external change was to manifest in the Second Wave of Feminism with its radical libs a decade later. The unofficial precursor to this was the gradually shifting attitude that this film symbolizes. http://www.youtube.com/watch?v=qCobnfT3Vdo Sadako's emancipation was a definite struggle, as was that of women in general at the time. At the same time, the men in the film seem to be progressively weakening healthwise. This can be translated into the so-called female uprising not eliminating its patriarchal oppressor by force, because there actually was no need to do this. Women seized the opportunities created by patriarchy itself, which was slowly crumpling due to its own weaknesses, to reassert themselves. In a way, men pretended not to truly need women for a long time, but that charade had to come to an end if Japan as a nation was to rebuild and even flourish into an golden era for both economy and welfare. This was what Shôhei Imamura envisioned in the early 1960s, and it was not far from the truth at all.
 |  Sunday Without God - Episode 1 - Valley of Death I Jul 10th 2013, 00:00 
Ai is a merry gravekeeper, spending her days digging empty graves for the villagers. No one has died in the village since her mother passed away years ago, but that is all about to change with the appearance of a handsome young man...
 | | Creative Spotlight: Episode #242 – Kazuki Guzman Jul 9th 2013, 00:04 
Chilean/Japanese artist Kazuki Guzmán takes everyday objects and turns them into something extraordinary. From his delicate banana illustrations using thousands of delicately placed needle piercings to a miniature chewing gum sculpture, his works are embedded with a delightful sense of humor and whimsey. His artworks ranges from large installations that are activated by the space or the viewers, to series of sculptures made from everyday objects. We sit down and talk with him about his creative process, his culture, and Asian films! Read below for the full Q&A… As an artist what did you learn from your mother and her Japanese heritage that was the most valuable lesson you have applied to your mentality as an artist? Kazuki: I embrace Japanese traditions and aesthetics such as wabi-sabi; the aesthetic marked by an appreciation and acceptance of imperfection and transience. In a way, my whole art practice revolves around this mindful approach to everyday life. I seek beauty in the mundane, and choose media that suggest transience of life. I also learned to pay respect and take good care of things. To this day, my Japanese grandmother reminds me to eat each grain of rice in my bowl because there are seven gods living inside each rice grain. 
Your collaboration project with Hao Ni is really spooky to me because it reminded me of the book 'House of Leaves' where a man discovers his house is larger on the inside than the outside. Why do you think structures and dimensions make for such an interesting concept? Kazuki: Spatial concepts play a huge role when it comes to a larger installation like our collaborative project. As for the house in the novel, there is always one's expectation of the inner structure, and what is present on the outside. What makes the work rich is the psychological response you experience after the expectations are not met. Because we wanted our audience to engage and interact with the piece intimately, we played a lot with these concepts. For example, we placed our installation right by the window, where the audience could see more structures and windows outside the building. And because the installation itself housed smaller structures on the inside, it was like a structure within a structure within a structure…We raised the platform by adding legs and stairs to the house, so that the perspective from the inside was different from that of outside. Also, we went as far as locking the door occasionally during the time of our show, so as to encourage the audience to interact with the piece solely through limited perspectives given by abstract windows. The installation evolved with every showing because we continuously changed components inside and out based on our mood. How was your time at University? I know many artists feel that there was a lot of resentment directed towards the continuing education students from the undergrads and grad students. Did these courses shape you into the creative that you are today? Kazuki: My time at the School of the Art Institute of Chicago was wonderful. What I loved the most about it was their interdisciplinary curriculum; I did not have to declare a major, and I had the freedom to explore across a wide range of disciplines. The courses I took varied from designed object, fiber studies, offset printing, jewelry making, ceramics, to carpentry and so on. The experience allowed me to develop a greater understanding of myself as an artist, and a way to contextualize my work within a contemporary society. What was the transition like from Korea to the U.S. Any particular culture shocks? Kazuki: Since Japan and Korea have both been highly influenced by the Western culture, I did not feel much culture shock in terms of what I experienced within the city. However, at school, I was shocked to see a significant difference in the way people approached art. While Asian art focused more on techniques and the finished product, the Western art put more weight on concepts and the process of making art. It was almost like they did not value a beautifully painted work unless it had a good concept behind it. I remember feeling trapped between these approaches, and struggled to find the middle ground between the two extremes. 
Tell us a bit about using needles to imprint designs on fruit. That is definitely an out of the box idea. Kazuki: I came across the idea when I found bananas that I had taken for lunch all bruised and scratched inside my bag. After seeing what these 'damages' were doing to the peel, I started playing more with it. As I closely interacted with bananas, I learned that when damaged, the cells on the surface reacts to the oxygen and turn dark over time. I was simply playing with it at first, but eventually, I was dedicated to turn this fantastic phenomenon into art one way or another. And this is how I came up with my banana pieces: Banana Portrait and Vuitton Nana. The Banana Portrait speaks to the idea of memento mori and transience of life. It starts out with my portrait, however, after a few days, it starts resembling my father with unexpected beard-looking spots, then my grandfather, and decays completely after weeks. The Vuitton Nana mocks the high art and the idea of branding; "Is this banana more expensive, or does it taste better now that it has brand logos all over it?" No, it tastes the same and decays just like any other banana. Good ideas are always hiding quietly, waiting for us to find and shape them into art. We just need to keep our eyes sharp for any minor signs. Obviously the drawback is that bananas spoils fast, or toothpaste melts so your art can only last for a certain amount of time. Why choose these mediums? What is your creative process for picking them? Kazuki: I use mundane objects in my practice for several reasons. The first one is that, I find beauty in things impermanent and transient. Like you mentioned, most of my work is only temporary, and decay or disappear over time. But when they do, there is death to the work, which also implies that at some point in its creation, there was birth, and there was life. Through the creative process of my work, I like to contemplate on things like life, death, and the purpose of it all. The reason you see my portrait in most of my work is because I want to see life through the eyes of these mediums by putting myself in their shoes. The other reason is that, I want to break the boundary between art people and the general public. I have always been against the idea of art being only for the rich or educated, in other words, elitist. Why can art only exist in galleries, museums, or institutions? Why is everything else called the 'outsider' art? So, in order to break that boundary and bring art even just a little closer to people, I have been intentionally using objects that you see lying around everywhere. 
Do you have any favorite Asian films or anime? Kazuki: I have always liked films by Kōki Mitani, such as "Rajio no Jikan" or "The Magic Hour". His sense of humor is a great example of Japanese humor: not really laugh-out-loud kind of funny, but more subtle, refined, and quirky. It might take a while for non-Japanese people to get into his world, but once you get it, there is definitely something addicting about it. In terms of anime (or manga), I really like "One Piece" by Eichiro Oda, or any films by Hayao Miyazaki and Mamoru Hosoda. Your art has a care-free joking manner spirit that is pretty evident just by looking at your creations. Have you ever tried to create art when you were in a dark place or an angry mood? Are you able to create in a time of chaos? Kazuki: Despite the cheerful, carefree persona that I project through my work, my creative process often comes from darker or more serious places. For example, the Gum Portrait. I came up with the idea at a time when things were not going so well with my life, and consequently, I began to look down on the pavement whenever I walked. One day, I realized that there are numerous black spots on the street as a result of gum being chewed, spat, and stepped on so many times. Until then, I was so used to the pavement just being gray that I did not even realize their presence. This trivial encounter made me reflect on my own being; "Will anything I do in my life matter after I'm gone? Even if it did, it will be ephemeral, and life will move on like I never existed. That is, I will be the black spot myself." After this, I could not help but to empathize with the stepped chewing gum on the street; I wanted them to be remembered. I wanted their lives to mean something. Or rather, I wanted my life to mean something. With thoughts like this, I created a series of gum people, each lively and happy. So, to answer your question, art helps me process my thoughts and emotions, and functions almost like a prayer or meditation of some sort. It is actually something that I do in a time of chaos. Lastly, any advice for any artists out there? Kazuki: Do not try to make things well, but do it with care and love. That is, treat art making as lovemaking, and your final product as your child. And, of course, enjoy the process. 
Want to stay up to date on all of Kazuki’s innovative art? Visit his official site below: http://www.kazukiguzman.com/ | | The Life of Oharu – Review Jul 9th 2013, 00:02
The Story of Oharu is a treatise on how women are economically exploited in a patriarchal society. This is probably one of the greatest ‘women’s films’ ever made. In a simple,understated way, the film outlines the tyrannies that made happiness almost impossible for women, not only in feudal Japan, but all over the world. It comments on the use of women’s bodies as sex objects and baby-making machines, with no regard for women’s minds or feelings. Conversely, the brief, almost unrecognizable appearance of Toshiro Mifune (albeit in a pivotal role) marked his only stint in a Mizoguchi film. While its very subject matter makes it perhaps less immediately appealing than the Japanese film-maker's subsequent masterpieces, The Life of Oharu still emerges as an exceptional work in his distinguished canon. Oharu's emotional turmoil is brought vividly to life by Tanaka's magnificent central performance – the actress herself was 42 at the time but, given Mizoguchi's penchant for medium shots, she manages to convincingly get away with portraying a woman from the age of 18 through to 50 – as well as an excellent music score by Ichiro Saito. Despite a generally downbeat tone, the film is relieved occasionally by humorous passages (such as the fastidious specifications required in choosing the lord's mistress and the ultra-servile attitude of the host at the brothel towards extravagant customers). The circular nature of the narrative is also evoked in visual terms: the film's very opening sequence is re-enacted towards the end; besides, the image of a cat stealing off with the wig of the merchant's wife is echoed by Oharu's imitation of a growling feline when confronted by the scorns of her customers. 
It even has a couple of humorous moments. If you doubt me, watch the scene where the jealous wife pesters her husband, trying to force him to admit that he first met Oharu at a brothel. The man is being shaved by his personal barber, and his wife keeps riding up on his side. So the husband lifts his mirror and walks a few spaces away, just to have his wife sidle up right against him again! The climax to this particular episode (the part with the cat, if you’re confused) is also quite humorous. Still, most of the film is heart-rending. It’s also amazingly directed by Mizoguchi. His camera movement is exquisite, absolutely exquisite. I loved Sansho the Bailiff, often said to be his best film, but the direction of Oharu is original and masterful. The acting is also wonderful. http://www.youtube.com/watch?v=MhgrNwnkGtU What makes this film so tragic is that Oharu is completely innocent, falling victim to love that is beyond her control. Like all great tragedies we know what is to come, and it is the inability to stop it that drags the audience in. Mizoguchi’s beautifully composed a masterpiece here. A great film that has a well rounded set of characters that in any other episodic drama such as this may seem hollow. Mizoguchi handles each important moment in Oharu’s life with complete confidence and artistic control. There are also a number of comic scenes that help ease the depression and show that life is not always doom and glume. The film doesn’t preach or hammer home its point, it shows what happens and subtly gets its point across. One of the best films I have ever seen and a real treat for any film fan. Don’t let this one escape you, and I can only hope more of Mizoguchi’s films are released on these shores through Criterion.
 | | Behind the Smoke - Dai Yoshihara Formula Drift 2011/2012 Season - Episode 71 - The Drama Unfolds - Formula Drift Rd 4 - New Jersey - Daijiro Yoshihara - Behind The Smoke 3 - Ep13 Jul 8th 2013, 22:41 
With Dai struggling in the last 2 events, it's time for him to get back in form. As qualifying approaches will he be able to take the top place? Or will he continue to fight his way from the back? Watch and find out and make sure to subscribe. Music: "All That Matters" by Professor Kliq & "First Cut" by Heet Seas Available at Jamendo.com Behind the Smoke Season 3 (BTS3) is a web reality series about 2011 Formula Drift Champion Daijiro Yoshihara. The cameras capture Dai and his team on and off the tracks. BTS3 is produced by GTChannel in association with Discount Tire/America's Tire. GTChannel is a CAR.VIDEO.NETWORK on YouTube with over 15 Million monthly views and 100 partner channels. Go to our http://www.youtube.com/gtchannel channel to check out our videos and partner channels.
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