⑴ 怎麼用英語介紹日本電影《情書》求助。。
Japan" image author" in Shunji Iwai's classic movie. The movie narrated a letter was sent to the kingdom of heaven out of grief and love letters, but big surprise received the namesake reply, and graally digging out a deep for many years but always silent pure unrequited love, after the case is entirely cleared. The past and present love winding out a beautiful love love love. " Love letter" is inspired by the Lingmuqingshun1959 self-titled video" Love Letter". Shunji Iwai thought that memories are pushing yourself a better man. Most people think that the past is the past, now is now, they are no relation. A time, remember the past, we will find some past and present involvement, in turn influence of their own now.
日本「映像作家」岩井俊二所導演的經典電影。電影敘述一封原本出於哀思而寄往天國的情書，卻大出意料收到同名同姓的回信，並且逐漸挖掘出一段深埋多年卻始終沉靜的純真單戀，真相大白之後前塵往事與今時愛戀纏繞出了一段痴情凄美的摯愛情深。《情書》的靈感來自鈴木清順1959年的同名短片《Love Letter》。岩井俊二認為回憶是推動自己的一大原動力。一般人以為過去是過去，現在是現在，兩者互無關系。某個時機，回憶起過去的事情，自然會發現一些過去與現在的連帶關系，反過來影響了現在的自己。
⑵ 尋求咒怨電影的英文介紹
Ju-on: The Grudge (呪怨 ,Juon?) is a 2003 Japanese "J-Horror" film, written and directed by Takashi Shimizu. The film is the third entry in the Ju-on series and is the first film theatrically released (the first two entries were direct to video proctions). The film was released in Japan on January 25, 2003 and has spawned several sequels and an American remake titled The Grudge which was released in 2004.
It is said in Japan that when someone dies in extreme sorrow or rage, the emotion remains and can leave a stain upon that place. Death becomes a part of that place, killing everything it touches.Once it sees you, it never lets go.
下面是人物的分別介紹
Rika (理佳 ?)
Rika is a volunteer social worker charged with caring for Tokunaga Sachie, a catatonic elderly lady. She discovers the quiet suburban home in a state of disarray and her ward malnourished and soiled, with no one else home. While vacuuming she finds a family picture with the wife's face cut out. Upstairs she hears shuffling noises coming from the bedroom closet, which has been taped shut. Rika removes the tape and opens the door when she hears meowing sounds. Inside the closet she discovers a black cat and a young boy whom she recognizes from the photo. She calls the welfare center to report the incident. She hangs up and is startled to see the boy staring down at her from the upstairs balcony. She asks his name. "Toshio," is his reply. Murmuring from Sachie's room draws Rika's attention. Rika attempts to calm Sachie, but is frightened by the sudden appearance of a dark shadow descending upon them. A pair of eyes appear within the shadow, which open and stare directly at Rika, who then faints. Toshio is seen standing over her.
[edit] Katsuya (勝也 ?)
Kazumi, Katsuya's wife and Sachie's daughter-in-law, cannot sleep at night because of what she presumes to be Sachie's restless stirring. Kazumi reminds her husband as he leaves for work that his sister, Hitomi, is expected for dinner. She falls asleep on the couch and is startled awake. At first she assumes that it was Sachie, but soon sees a pair of fresh handprints on the door. She discovers a black cat on the stairs. When she approaches, a pair of small pale arms reach out and take the cat, which scares Kazumi.
Katsuya comes home to find his wife lying on the bed unable to move or speak. As he goes for the phone, he senses another presence in the room and soon encounters the boy, Toshio. Katsuya asks who he is, but gets no reply as the closet doors begin to shake and his wife's condition worsens.
Hitomi arrives for dinner only to find her brother sitting on the stairs behaving strangely and muttering something about a child that isn't his. She asks about Kazumi, but Katsuya will not say what became of her. Katsuya pushes Hitomi outside and tells her to go home.
[edit] Hitomi (仁美 ?)
Hitomi is one of the last people to leave the office building. She unsuccessfully attempts to call her brother on her way out. On her way out, she hears strange shuffling sounds in the corridor, which seem to be coming from behind her. Slightly unnerved, Hitomi stops in the ladies room, where her phone rings and identifies the caller as her brother. When she answers, a terrible death rattle sounds is heard coming from the mobile phone. In the stall next to her a provoking banging begins, Hitomi apologizes and hangs up the phone. A small teddy bear ornament falls from her purse as she begins to leave the bathroom. As Hitomi reaches for it the next door stall opens and an ethereal curtain of black hair moves ominously toward her making the same death rattle noise she heard ring the mobile phone call. Hitomi runs to the security office and asks a security guard to investigate. She observes him, via a surveillance monitor in the security office, as he goes stops at the bathroom door the video camera footage begins to pick up little interference and a dark shadow emerges from under the door guiding the security guard into the room. Hitomi makes a hasty retreat to her apartment. At her home the phone rings and it ends up being her "brother" claiming to have forgotten the apartment number. Hitomi tells him the number, which is several stories up, and buzzes him into the building. Before she could hang up the phone her doorbell rings. She looks through the peephole and it's her "brother". She opens the door to nothing but an empty hallway, the death rattle sound comes loudly from the phone still in her hand. Hitomi quickly throws the phone on the hallway floor and heads back into her apartment, turns on the television, and cowers under the covers of her bed. The news is on but while the reporter is reporting the television picture and audio become distorted, the face warps into a phantom like image and the audio emits the death rattle sound and the television shuts itself off. Petrified, she continues to hide in her bed. Shortly after, she feels something strange in the bed and pulls it out, it's the teddy bear ornament that fell from her purse back at work. A human-shaped lump manifests from beneath the covers at the far end of the bed. Hitomi lifts the sheet to see the female ghost, who quickly pulls Hitomi towards her. A full shot of the room is seen and both the ghost and Hitomi are now gone.
[edit] Toyama (遠山 ?)
When Rika does not return to the care center, her boss, Hirohashi, goes to the house to check on her. He finds Sachie dead and Rika in a state of shock. Detectives attempt to locate Katsuya by calling his cell phone. They hear ringing coming from upstairs and track the sound to the attic. There they find the bodies of the young couple living there, Katsuya and Kazumi. They also find out that every family that had lived in the house either died or disappeared. During the investigation, Hirohashi is found dead, and Hitomi is missing. The investigators turn to another detective, Toyama, for answers. Toyama was assigned to the case of a man, Takeo Saeki who had murdered his wife, Kayako, and child, Toshio, in that house years before. Toyama watches the security tape of Hitomi's office building and sees the security guard being consumed by a shadow and Kayako looking directly at the security camera. Convinced that the house is responsible for the rash of disappearances, Toyama goes there with gasoline, intent on burning it to the ground. He has a daughter, Izumi, who was about twelve years old. While inside he experiences a vision of her as a teenager. He is then attacked by Kayako. He manages to escape the house, but the two investigators who came to look for him are not so fortunate.
[edit] Izumi (いづみ ?)
Several years later Izumi is a teenager and her father, Toyama, long since dead - another Ju-on casualty. As Izumi and two friends walk to school, she notices a missing persons poster featuring three of her friends. She was with them the day they disappeared from a house that was rumored to be haunted. Izumi feels guilty because she ran from the house in fear, leaving the others to their fate. At school the girls notice that there are no photos of Izumi from a recent event and complain to their teacher about it.
Izumi's state of mind has been deteriorating since the day they went to that house. She keeps the curtains closed, covers her head with a hood, and clutches a pillow. Her friends visit and are disturbed by Izumi's condition and the strange behavior of her mother. One friend draws the curtain to reveal that the windows are covered with newspaper. Izumi tells them the ghosts of her three missing friends are stalking her, peering at her through the windows. As her friends leave, Izumi's mother tells them her father had exhibited the same behavior before he died.
The girls remember the photos they brought to show Izumi. They understand why the teacher had not posted any photos of Izumi. In every photo, Izumi's eyes were eerily blackened out - as were the eyes of her three missing friends.
Back in her bedroom, Izumi is having a vision of her father. She suddenly wakes to find a scrap of newspaper on the bed and moves quickly to return it to the window. When she pulls the curtain, she sees her three missing friends, pale and grey, staring at her through the gaps in the newspaper. Terrified, she runs from her room, but the ghosts of her friends are in hot pursuit. Izumi runs into a room and attempts to block the doorway, but this does not deter the ghosts. Izumi, in a panic, backs away - right up against the Shinto altar in her house. Suddenly, ghostly hands, belonging to Kayako, emerge from the altar. Kayako proceeds to drag Izumi, kicking and screaming, into the altar as the ghosts of her three friends continue to approach. As the camera zooms in to the altar, the faces of Izumi and her father materialise in the darkness. In the bonus material of the DVD Shimizu explains that he intended on including the same effect happening between the shelves in the room revealing the faces of the three friends, but this idea was dropped because he thought it would either be ridiculed or take away the focus of Izumi's death and place it on the entire group.
Before her death it is made quite clear this takes place years in the future, not only because there is a scene with her father and her as a child, but not long before she dies her mother is watching the news. The report is on the discovery of Rika's dead body.
It is also theorized that she is an unmentioned character in the last vignette of Ju-On: The Curse 2 (the sequel to the telemovie) because it is titled "Saori," who is the name of one of her friends who disappeared in the Saeki house. Saori was the "ringleader" of the group.
[edit] Kayako (伽椰子 ?)
Rika has more or less recovered from the trauma of her experience in the house. She arranges to meet an old friend, Mariko, for lunch. An old man plays peek-a-boo with an unseen person just outside the care center where she still works. Another worker, assuming the man is feeble-minded, tries to join in the game and is rebuffed. The old man resumes his game with his unseen playmate, a sight which makes Rika uneasy. Toshio's reflection is visible in the glass, revealing the identity of the unseen playmate.
While having lunch with Mariko, Rika sees Toshio under the table, panics, and rushes out. Later Rika receives a call from Mariko, concerned over what had happened at lunch. Mariko tells Rika that she is on a home visit for a student who has not been to school. The student's name is Toshio.
Rika quickly realizes that Mariko is in the cursed house. She hurries there, but too late to help as Rika sees Mariko being dragged up into the attic (in the same fashion as Yoko was pulled up in The Grudge US remake). Rika briefly follows Mariko's path and sees Kayako crawling towards her. Rika panics and runs down the stairs to the door, but she runs past a mirror and sees an unfamiliar reflection where her own should be. She covers her face with her hands in the same way that the old man playing peek-a-boo did. Doing so reveals Kayako in the mirror, staring back at her through her fingers. After a frightening vision of Kayako emerging from her chest, Rika hears thumping noises overhead, and realizes that something is coming slowly down the stairs toward her. The ghost of Kayako, the murdered wife, inside a blood-soaked plastic bag is crawling toward her, long black hair covering her face. She seems to be reaching out for help. Rika covers her face with her hands again, and, to her horror, sees herself as Kayako (it is commonly mistaken that she is actually seeing Kayako without the blood, but this is not the case). It is then that Rika comes to the terrible realisation that she is destined to play out the curse.
After this revelation, Kayako disappears. More noises come from the stairs. Rika looks up to see a ghost of a blood-covered Takeo, slowly descending the stairs. As Rika screams, Takeo reaches for her and kills her off-screen (in a deleted scene, her death is shown in more detail - she is killed in exactly the same way as Kayako was).
The scene then fades to shots of the streets - abandoned and littered with 'missing' posters. The body of Rika is then seen, wrapped in a plastic bag, inside the attic. As the camera zooms in on her face, her eyes open and the now-familiar croaking sound like Kayako.
This chapter is presumably set years later, perhaps in the same timeline as the "Izumi" chapter, as evidenced by the news report in that chapter.
⑶ 求日本電影《腦男》英文介紹,關於主要內容的
In a small town in Japan, a series of seemingly random explosion cases occur. Ichiro Suzuki knowns as "Brain Man" is fingered as an accomplice. Midorikawa works on the explosion case.
The mysterious man known as "Brain Man" has outstanding memory, high intelligence and a perfect body, but doesn't seem to have human emotions. Neurosurgeon Mariko Washiya (Yasuko Matsuyuki), who has her own personal trauma, believes that human nature is fundamentally good and tries to save criminals. She then becomes interested in Brain Man and works to uncover the truth. Meanwhile, Detective Chaya (Yosuke Eguchi) tracks down Brain Man.
資料來源：Asianwiki
⑷ 日本電影經典推薦 日本電影介紹
1、《雨月物語》：權利與財富是男權社會里男子身上背負的兩座山，這樣的故事是太多文藝作品的主題，內容也就沒有太出奇之處。亮點是影片集合了日本戰後電影在氣氛營造、音樂運用、群戲與多人戲的場面調度的優點，算是一部酣暢淋漓的聊齋故事。
2、《大逃殺》：用極端的方式，表現和探討人與人之間的關系，人與社會的關系，充分溝通和完全信賴總是那麼難，輕易間產生隔閡和作出傷害又是那麼容易，誰又能明白誰的意思，誰又知道該對誰說些什麼？沒有答案，這個紛繁復雜的社會也不可能作出解答。
3、《告白》：初開始時並不覺得有多動人，只是被故事吸引了下去。這大約就是日本電影，總是後發力。直到結局呈現出來，儼然不願意就這樣被結束。之於內容，我有了一副無話可說的姿態。從一隻蝴蝶開始，電影的剪輯便漸漸地顯山露水。日本國繼承中華民族的傳統文化更為徹底嘛，多麼謙虛的一個民族。
⑸ 日本電影
《大逃殺》（英語：Battle Royale；日語：バトル・ロワイアル；羅馬拼音：Batoru Rowaiaru)是改編自日本小說家高見廣春原作的同名電影，包括《大逃殺I：東京聖戰》（2000年）和《大逃殺II：鎮魂歌》（2003年），導演分別為深作欣二及其子深作健太。該作品亦被改編為同名漫畫、網頁游戲及紙牌游戲。
大逃殺英文名Battle Royale的意思：指的是在美國摔跤界中的WWE（世界職業摔跤）多人對戰，在這種比賽模式中，將會有不定數的選手參戰，直到最後一名沒被擊倒的選手，即為比賽中的冠軍。作者藉此暗示書中的42名學生為了生存，必須戰斗到只剩自己一人的心情。（小說故事中，從頭到尾都沒有出現BR這段詞彙，只有這項游戲的名稱「計劃」。）
[編輯本段]劇情梗概
已經飽和的世界經濟給亞洲各國帶來了空前的經濟蕭條。新世紀伊始，有一個國家徹底崩潰了，完全失業率超過了15%，一千萬失業者遍及全國各地。失去了生存自信的人們開始威脅天真無邪的孩子們。全國有80萬兒童、學生拒絕上學。學校內的教師又遭受到學生的暴力行為，殉職者人數高達1200人。就在這個時候，一部新的法律出台了。
BR法案是《新世紀教育改革法》的通稱。所謂BR法案，就是為了解消公民對學校的崩潰、對卑劣少年的惡性犯罪引起的憤恨；為了培養青少年們在逆境中排除各種困難，並由此獲得堅韌不拔的生存能力；使青少年們從大人們手裡奪回原本就屬於他們的權利。
從全國的初中3年級中，每年隨機地選出一個班級，並把學生們送往受行動范圍限制的、荒無人煙的地方。發給每個學生地圖、糧食、各種各樣的武器，讓他們自相殘殺，直到只留下最後一個為止。時間限度為3天。學生們必須佩戴違反規定即自行爆炸的特殊項圈。在此期間的學生殺人、致人傷害、持帶槍械等違法行為都不受法律限制。這就影片所有血腥殘暴的由來。
精緻的彈簧刀穿過了一個好爭論的女孩的前額，下一個死去的是七原的摯友但卻不討老師喜歡的男生，一顆綁在他脖子上的炸彈把他的腦袋炸開了花。其他學生則用弓和箭、鶴嘴鋤和大鐮刀互相屠殺。
影片最後，當倖存下來的三個學生與北野武正面交談的時候，一個滑稽的超現實段落出現了：北野武明明有真槍，卻用水槍誘使三個人殺了他，在中彈死去之後，還翻起身接了最後一個女兒的電話才正式死去。這個布努埃爾式的場面似乎有兩方面的含義：一是直接指出成人精神世界的空虛腐朽，警誡所有即將走向成年的孩子們；第二則是象徵（不如說是希望）老一代成年人在少年世界的退出。成年人已經自顧不暇，只有靠下一代自己的努力了。所以才有了影片充滿朝氣和希望的結尾：七原和中川逃出了各自的家庭，走上了純潔獨立的人生道路，奔向成年。在最後，
大逃殺II：鎮魂歌
外文片名：
BatorurowaiaruII:Rekuiemu(2003)(USA)
Battle Royale II: Requiem .....(literal English title)
導演：
深作健太 Kenta Fukasaku
深作欣二 Kinji Fukasaku
編劇：
深作健太 Kenta Fukasaku
木田紀生 Norio Kida
高見廣春 Koushun Takami .....characters
影片類型：動作 / 劇情
片長：Japan:134 min / Japan:155 min (director's cut)
國家/地區：日本
對白語言：日語
色彩：彩色
級別：Finland:K-18 Iceland:16 Japan:R-15 UK:18 Germany:18 Australia:R New Zealand:R18 South Korea:15
主演：
七原秋也 Nanahara Shuya （藤原龍也 Fujiwara Tatsuya）
中川典子 Nakagawa Noriko （前田亞季 Maeda Aki）（客串）
北野武 Kitano Taheshi —— 北野老師 Kitano（客串）
真木洋子——電腦天才旱田真希
加藤夏希——狙擊手櫻井早紀， 櫻井晴哉之姐
千葉真一——三村真樹雄，信史的叔叔
石垣佑磨——戰士左海貢
柳澤貴彥——戰士土岐士郎
風間由次郎——戰士真田幸太
西川佑也——戰士西 浩介
小澤佑果——戰士忍
岩村愛——恐怖分子少女舞
利根川鈴華——恐怖分子少女敬
今野雅人——恐怖分子少年仁
浜田麻希——恐怖分子少女千鶴
竹內力—— 教師RIKI
中井出健——蝶野二曹
仁科 貴——間宮三曹
龍川 剛——安城一尉
谷口高史——迫水二尉
中野裕斗——德川三尉
山村美智子——記者小姐
津川雅彥——總理大臣
[編輯本段]劇情梗概
故事發生在前作三年之後。作為大逃殺倖存者的七原秋也此時正領導著一個由歷屆大逃殺倖存者組成的反抗《BR法》的恐怖組織，並在首都進行了爆炸行動。為此，政府出台《新世紀反恐怖法案》，通稱《BRII》。
這樣的背景之下，某天，匯集了來自全國各地的不良少年，以及逃課問題生的鹿之砦中學校的3年B組42名孩子，在聖誕節休學旅行通往滑雪學校的路途中，淪為了軍隊的劫持目標，被全員綁架到了一座孤島之上。當他們被勒令換上軍服，並押送集合至一個巨大軍營之內時，他們的指導教師RIKI卻出現了。「整個班級無一人例外，將成為本次BRⅡ的參加者」，RIKI向已經陷入混亂的學生們，公布了綁架理由，並說明了BRⅡ的游戲規則。
依照《BRII》這部法案，一個班的中學生被強行組成突擊隊，在頸環的逼迫下向七原所在的海島發動進攻。在這隊中學生中，有一名女生是自願來參加的。她就是前作中被七原殺死的北野老師的女兒北野詩織（前田愛飾）。在慘重的死傷後，倖存的隊員們在七原等人的幫助下擺脫了頸環的恐怖控制，並停止了戰斗。然而更大的危險正在逼近。政府出動了正規部隊對海島發起進攻，甚至動用了巡航導彈。與此同時，北野詩織仍在尋找父親留下的畫中的意義……
⑹ 用英文介紹一部英文電影，加翻譯
《忠犬八公的故事》該片當年曾在日本引起轟動，電影的原型為1924年秋田犬八公被它的主人上野秀三郎帶到東京。每天早上，八公都在家門口目送著上野秀三郎出門上班，然後傍晚時分便到附近的澀谷火車站迎接他下班回家。一天晚上，上野秀三郎並沒有如常般回到家中，他在大學里突然中風，搶救無效死了，再也沒有回到那個火車站，可是八公依然忠實地等著他。
"Dog story" the film was in Japan caused a sensation, the prototype of the film Akita Inuyako in 1924 by its ownerUeno Xiumiro to tokyo. Every morning, eight mr.s are at home watching Ueno Xiumiro go to work, and then in the evening went to the vicinity of the Shibuya train station to meet him back home. One night, Ueno Xiumiro and not as usual as home, he had a stroke in the University, rescue invalid died, and never returned to the train station, butHachi still faithfully waiting for him.
《當幸福來敲門》成功詮釋出一位瀕臨破產、老婆離家的落魄業務員，如何刻苦耐勞的善盡單親責任，奮發向上成為股市交易員，最後成為知名的金融投資家的勵志故事。
"When happiness to knock" out of a successful interpretation on the verge of bankruptcy, wife leaveabjection salesman instriousness and stamina, howgood as single responsibility, to make progress as stock traders, and eventually become famous financial invester
⑺ 請介紹一下日本影片《東京物語》
中文名稱：東京物語
英文名稱：Tokyo Story
別名：Tokyo Monogatari
資源類型：DVDRip
發行時間：1953年
電影導演：小津安二郎 (Yasujiro Ozu)
電影演員：
笠智眾 (Chishu Ryu) ...... Shukishi Hirayama
Chieko Higashiyama ...... Tomi Hirayama
原節子 (Setsuko Hara) ...... Noriko
杉村春子 (Haruko Sugimura) ...... Shige Kaneko
Sô Yamamura ...... Same per
三宅邦子 (Kuniko Mi
劇情簡介
《東京物語》被普遍認為是小津安二郎漫長職業生涯中所拍攝的最為優秀的電影，同時也是那些經典藝術電影中的翹楚，也是小津安二郎戰後最感人的影片。
《東京物語》講述一個大家庭中兩代人的故事。親情與疏離，摯愛與義務，死亡與孤獨，在一樁樁觀眾再也熟悉不過的平常小事中緩緩鋪展開來。這是一個普通日本家庭的故事，但也是所有家庭的故事，無論你我他，都有可能在片中找到自己的位置。電影由平山周吉老夫婦站在月台對話拉開序幕，這對老夫婦欲前往東京與其他子女相聚。途中經大阪時，與在國鐵服務的三男敬三相見後，直達東京長男幸一家中，兩三天後，老夫妻因無聊而移往經營美容院的長女志子家中，但志子十分吝嗇，只有已故二兒子的媳婦紀子給予了二老熱情的接侍。由於與老友喝酒受到女兒責難，周吉一氣之下回鄉。周吉老太太不多久即因腦溢血病逝。最後與紀子語重心長的話別，使整部電影即在這滿盈感動與溫馨的畫面中結束。在這部電影中，小津簡約的影像風格近乎完美，一切都是那麼自然，電影的製作者既不需要煽情，也毋須告訴觀眾誰對誰錯，因為生活本來就是這個樣子的。或許導演唯一的傾向，是電影中那種不失溫婉的諷喻，但決不是義正詞嚴的批判，因為小津並不相信有什麼一勞永逸的解決方法，他不僅要表現生活本來的面貌，他還要我們接受人性並非完美這一事實。
《東京物語》是小津自己最喜愛的一部電影，但他卻很少談及。電影榮獲《電影旬報》年度評選第二名之後，小津說："我想通過父母與子女的經歷，去描寫傳統的日本家庭是如何分崩離析的。在我拍過的電影中，這一部最具通俗劇的特點。"。
沒有大起大落的是影片情節，也沒有愛恨情仇的繁瑣糾葛。有的只是一絲淡淡的憂傷，而這憂傷也只是像一片秋葉的飄落過程。但更多的，我們感受到的是一種平實的溫暖。它緩慢地，如此緩慢地滲入我們的內心，然後是許久地撫慰。這部1953年的黑白片是小津安二郎的早期代表作。作為一代電影宗師，小津給予我們的影象世界是完全生活化的。我不可割捨地愛著他的電影。小津一輩子只拍攝一個題材的電影，那就是家庭。固定的機位，嚴格的構圖，平實的人物性格，永遠不存在壞人的故事情節，流暢的敘事方式。這幾乎就是他作品標志的全部。小津一身未娶，與母親生活在一起直至她去世。我真的不明白為什麼小津的電影會如此簡單但又能如此深地打動我。我想，可能真的是一份平靜中的溫暖在慰籍著我，這個秋天果真是收獲的，我在小津的電影里找到了最深厚的感動。這感動不會讓我落淚，但會溫暖我許久許久。
海報：http://www.grassy.org/art_ovsea/bill/bill/2p122b.jpg
⑻ 想要日本電影《情書》的英語簡介及獲獎記錄，英語課要用，不要用翻譯器翻譯，謝謝，盡量長一點，優美一點
Love Letter is a 1995 Japanese film directed by Shunji Iwai, and starring Miho Nakayama. The main male roles were played by Etsushi Toyokawa as Akiba Shigeru and Takashi Kashiwabara as the male Itsuki Fujii.
Love Letter became a box-office hit in Japan and later in other east Asian countries, most notably South Korea where it was one of the first Japanese films to be shown in cinemas since World War II.
The story is about a love letter sent to her fiance in heaven out of sad memory.Surprisingly, she received a reply from someone with the same name. The correspondence continued. Graally a quietly buried pure unrequited love was uncovered. Then, remeniscence of the past and the love at present intertwined into a poignantly beautiful and passinately deep love.
The film had won:
1996 Japanese Academy Awards - Newcomer of the Year (Miki Sakai)
1996 Japanese Academy Awards - Newcomer of the Year (Takashi Kashiwabara)
1996 Japanese Academy Awards - Most Popular Performer (Etsushi Toyokawa)
1996 Blue Ribbon Awards - Best Actress (Miho Nakayama)
1996 Kinema Junpo Awards – Best Film (Shunji Iwai)
1995 Hochi Film Awards - Best Actress (Miho Nakayama)
1995 Hochi Film Awards - Best Supporting Actor (Etsushi Toyokawa)
1995 Toronto Film Festival - Audience Award