In Translation | Ise-Shima (dir. Ishiro Honda, 1949?)
The directorial debut from the man behind Godzilla, now in English
Wasn't planning on doing more subtitles so soon, but I just couldn't wait for this one...
You know about Ishiro Honda, even if you think you don’t. He’s one of the most legendary names to ever come out of the Japanese film industry, one who’s work didn’t just breach its country of origin, but seep itself deep into the cultural lexicon of the entire world.
He’s the man behind Godzilla.
But before he created the ultimate giant monster movie and one of the most enduring modern fictional icons there’s ever been, Honda directed some documentaries. And it’s there, with his debut directorial work, that we’re focusing on today: his twenty minute film, Ise-Shima.
Don’t think Ise-Shima is only noteworthy thanks to being the start of Honda’s career, though. A cultural documentary exploring various jobs found in the Ise-Shima area of Mie prefecture, and the first in what would be a series doing the same for other places across Japan (though without Honda), this short work is a little wonder in itself. Combining some remarkable footage—in particular the first instance of underwater filming in Japan to capture the work of the area’s female divers—with Honda’s fiercely humanist eye, what could’ve easily been nothing more than tourism promotion becomes an honest exploration of a culture balancing on a dozen precipices. Here, for every delight and exciting detail comes an anxious ellipses in equal measure, rapid industrial developments and the political co-opting of faith hanging over the beautiful Ise-Shima.
To put another way: despite being a documentary about pearls and fishing, you can extremely tell—both thematically and technically—that this is from the dude who’d go on to make Godzilla in a few years. It’s great, both an under-seen work of historical interest that’ll tickle anyone with an interest in Japanese film history, AND a rock solid piece of cultural filmmaking in its own right. And now you can enjoy it in English!
Have fun!
Music of the Week | Ai-Jin by The Gerogerigegege
I’m sure I’ll eventually recommend everything The Gerogerigegege have done—they are one of the most instrumental projects in my development — but I have to especially shoutout Ai-Jin, which might be my favorite slab of work from Japan’s great noise freakout freak. Infamously pressed only to have (most of) the copies burned up in a fire live in front of an audience, the track takes a catchy, melodramatic Teresa Teng track and then explodes it, distorting dramatic strings into crunchy noise as ringleader Juntaro Yamanouchi growls and whispers a demonic cover over the whole thing. The balance between dark and light, and commercial and experimental, where beautiful sound occasionally peaks through storm clouds, is astounding, and would be later mined by other groups — especially Hijokaidan — for all that it’s worth. Essential.
Book of the Week | Satsujin-28 by Suehiro Maruo
That latest series from eroguro master might have a darkly punny title (a play on giant robot classic Tetsujin-28 aka Gigantor) but the contents are classic Maruo derangement: a boy in an asylum who might have a carnival monkey for a father, growing up in a nunnery and having dreams of sex and violence and religion getting all mixed up into a soup. It’s strange, it’s hallucinatory, it’s vulgar and transgressive, and it’s full of nothing but the most arresting images and ideas you’ll see this year. Who knows where this whirlwind of religious guilt and political fury will lead, but I’ve never been more along for a ride.
Movie of the Week | Mag Mag (dir. Yuriyan Retriever, 2026)
The directorial debut from Japanese comedian Yuriyan Retriver, here’s a bonkers horror comedy playing off of The Grudge that exists in a perpetual state of zagging. Following the increasingly connected haunts of a ghost who kills men after confessing her love to them, Mag Mag is at once played completely straight and not at all, managing a magic trick balance of being genuinely scary and funny at the exact same time until it breaks out in an explosion of insanity. Special love has to be given to lead actress Sara Minami, who commits 200% for an early front-runner as the most fun performance of the year (also a brief appearance of my favorite person Akari Takaishi for bonus points).
Have thoughts about anything covered this week? Got a recommendation you’re dying to share? Want to tell me how handsome and cool I am? Leave a comment below!