Nestled between the mighty powers of China and Japan, Korea, divided since the end of the war in 1953, has had its share of troubles. In Hidden Korea historian Bruce Kraig takes a sweeping look at the peninsula's history and modern culture. Focusing primarily on South Korea-the north has been locked up tight for decades-Kraig explores the agriculture and relatively new urban life with a special emphasis on food. As filmed by his wife, Jan Thompson, the rice fields are gorgeous; the national dish, kimchee, looks delicious; and the fresh seafood seems to put the Mediterranean to shame. Stepping away from the dinner table, the viewer learns about the many spiritual traditions of Korea, and its blend of Confucianism, Buddhism, shamanism, and Christianity that persists today. Though only hidden by the shadows of its giant neighbors, Korea is still largely unknown to Western audiences; Professor Kraig helps illuminate this vibrant and growing culture. -Rob Lightner Hidden Korea explores the culture of the Republic of South Korea, a modern country that has retained a unique identity through its traditions and cuisine. This program highlights different areas of agriculture including rice farming, traditional foods and their preparations, the Chu'sok festival (a holiday remembering the dead), Buddhism Confucianism, traditional celadon making and fishing. This program is a nourishing introduction to, or a reminder of, the rich culture of an ancient society.

Made in 1970, this film was nominated for an Academy Award for Best Foreign Film in 1972. This is Kurosawa's first color film, and there seems to be an almost psychedelic overlay to his production palette. The story revolves around a collection of characters held together only by the frayed thread of poverty. Rokkuchan (Yoshitaka Zushi), a teenager with the mind of a boy, is obsessed with trolley cars. He draws them from every angle in vivid colors. His despondent mother (Kin Sugai) hangs them lovingly on the walls and windows of their simple home. Every morning Rokkuchan goes out to his imaginary trolley car and makes his way through the surrounding slums. His neighbors include a humble man with a terrible limp and an unforgiving wife, two couples who color-coordinate their husband-swapping, and a sad derelict man with an adoring but doomed little boy. During the day, father and son pass the time building a dream house in their minds. At night they sleep in an abandoned car. [+]

Originally broadcast on PBS, the superlative Kurosawa is likely to remain the definitive documentary on the life and work of Japanese film master Akira Kurosawa. The film follows the conventional documentary approach of a chronology of Kurosawa's career, with requisite film clips and interviews with many of Kurosawa's surviving collaborators and family members. Western admirers like James Coburn, Clint Eastwood, and Japanese film scholar Donald Richie are also interviewed, and director Adam Low provides a more contemplative appreciation of Kurosawa's life and work. Enhanced by Sam Shepard's straightforward narration and Paul Scofeld's evocative readings from Kurosawa's elusive autobiography, the film functions as both honorable tribute and touching retrospective, especially when the surviving crewmembers of Rashomon are assembled for a 50-year reunion filled with anecdotes and insiders' perspective. All in all, this is must-see viewing for any lover of film. -Jeff Shannon.

One of the best films of 1994, To Live is a bold, energetic masterpiece from Zhang Yimou, the foremost director from China's influential "fifth generation" of filmmakers. Continuing his brilliant collaboration with China's best-known actress Gong Li (their previous films include Ju Dou and Raise the Red Lantern), Zhang weaves an ambitious tapestry of personal and political events, following the struggles of an impoverished husband and wife (Ge You, Gong Li) from their heyday in the 1940s to the hardships that accompanied the Cultural Revolution in the 1960s. They raise two children amidst a Communist regime, surviving numerous setbacks and yet managing, somehow, to live. Both intimate and epic, Zhang's film encompasses the simplest and most profound realities of Chinese life during this controversial period, and for their honesty, Zhang and Gong Li faced a two-year ban on future collaborations. To Live is a testament to their art, transcending politics to celebrate the tenacity of ordinary people in the wake of turbulent history. -Jeff Shannon.

A fitfully amazing, frequently disheartening hodgepodge of action, farce, and romance, slapped together as a costarring vehicle for three of Hong Kong's major movie stars: Jackie Chan, Sammo Hung (who also directed), and Yuen Biao. Its light-footed, try-anything spirit makes it consistently enjoyable, but these wonderful performers are working (to put it kindly) beneath their gifts. Chan plays a womanizing attorney who recruits arms-dealer Hung and madcap inventor Biao to dig up dirt on the corporate sleaze balls he's supposedly defending-industrial polluters (and heroin smugglers) whose effluents threaten the bucolic fish farm of a handsome widow woman. The trio doesn't have many collective scenes, so their Three Musketeers act never really gets off the ground. As always, the fights and stunt work are mind-boggling; the jaunty details are fun: Chan's flick-of-the-wrist trick with a fancy briefcase; Hung's deft run- through of a few choice Cantonese opera moves; and Yuen Biao's Olympic-level acrobatics on, around, and within an industrial steel-tube staircase. -David Chute.

Subrata Mazumdar (Anil Chatterjee) is struggling to support his extended family in the big city of Calcutta. He has a job as an accountant at a new bank, but he doesn't make enough to make ends meet. Going against the norm, his wife, Arati (Madhabi Mukherjee), decides that she must find a job. Condemned by her conservative father-in-law, she begins working as a door-to-door salesgirl, representing a line of knitting machines. The better she does at her job, the happier and more confident she becomes. But this change makes her husband extremely unhappy. He finally insists that she resign her position. He'll find a part-time job instead. But just before she can do this, there is a run on Subrata's bank and it must close. Jobless, he has to live with the shame of having his wife support him. [+]

This 1990 feature from anime legend Go Nagai, creator of Devilman and Cutey Honey among other animated series, is a spirited if uninspired mix of Ninja warrior swordplay, modern yakuza gangster gunplay, and anime-style demons. The mysterious Ninja Dragon is a vaguely supernatural warrior sworn to defend the Nindo clan. He dedicates his sword to Shinobu, the schoolgirl daughter of a yakuza lord, and just in time. Upstart gangster Ranjuji, a hulking thug with demonic eyes, massacres the heads of rival criminal families and kidnaps young Shinobu for his bride. There's plenty of flashy swordplay and bloody violence (blood spurting from wounds like a waterfall, limbs ripped from bodies, and a man's face ripped from his head like a banana peel), and the massive battle between the Ninja Dragon's trio and Shinobu's army makes up for sloppy technique with vigorous choreography and a rush of activity. Apart from a few sidelines for unnecessary exposition and a ridiculous contest that turns Ninja warriors into World Wrestling Federation wrasslin' chicks, Nagai keeps this silly, simplistic Japanese comic book B movie zipping along with gusto. It won't leave much of an impression, but it's a fun 70 minutes of brainless action. -Sean Axmaker.

In between the Hollywood productions Rush Hour and Shanghai Noon, Hong Kong's most popular export, Jackie Chan, returned home to indulge his romantic side in this modern fairy tale. He plays a modern Prince Charming, a big business mogul and notoriously eligible big-city bachelor to dreamy teenager Shu Qi, a girl from a Taiwan fishing village. When a heartbreaking message in a bottle washes ashore, she traces it back to Hong Kong, where she meets Jackie in the midst of a mid-ocean brawl on a luxury yacht. Hong Kong heartthrob Tony Leung has a grand time spoofing his image, playing a gay fashion photographer who "adopts" Shu Qi and helps her woo her handsome dream lover. It's a pleasant change to see 40-plus Jackie discard his usual goofy lovesick fool to play a suave swinger, but next to giggly teen Shu Qi, who proves to be a spunky and winning actress, he seems a little too mature. There are still plenty of opportunities to see Jackie in acrobatic action with a subplot involving a boyhood friend turned shady business rival, but at heart it's a sweet, silly little love song full of unabashed romantic imagery, elegant art design, snazzy fashions, and a gooey happy ending. Jackie doesn't provide his own voice in the English dubbed edition, which makes a minor dent in his charm but does little to affect the film as a whole. -Sean Axmaker.