Yes you can, my guestbook used to just be a disqus comment section a while back. Just go to their website and find out how to create and embed your comment section: https://disqus.com
Disqus is bloated and inefficient, and will vend your data and that of your users to third parties. Discourse is one of several better options, as are dedicated guestbook services.
Nice catalog! I revel in Halloween every year, but wouldn't ever want it to encroach upon traditional festivities as those of Día de Muertos, even if inadvertently.
I get the feeling, I was actually planning to travel to the south of the country to really see what Día de los Muertos is really like, there's too much Halloween on my city.
Added a bunch of videos that arrived last week and that I just bought yesterday: The Umbrellas of Cherbourgh, Stray Dog, Las poquianchis, This Was Pancho Villa, The Important Man and Ghost Stories.
I was going to add a bar that said where I last updated on the homepage but realized it was a horrible idea
I'll increase the size of the other post later. (Because I can't read them easily)
I still don't know what to think
Naruse realized Fumiko Hayashi's novels with a consistency and faithfulness akin to Teshigahara's adaptations of Kobo Abe's literary output. His preservation of Hayashi's observational verity make his films indispensible as realistic domestic dramas of their period. They're also great showcases for actresses like Takamine or Setsuko Hara.
I'll concede that Ichikawa and Naruse are now relatively unknown beyond Japan and France, but their work still enjoys enduring domestic popularity. Ichikawa's oeuvre is incredible; (both) adaptations of "The Burmese Harp" and "Fires on the Plain" constitute his most famous flicks, but so many others are just as eximious: "An Actor's Revenge," "Tokyo Olympiad," "I Am a Cat"...
..."Enjo" (Mishima's "The Temple of the Golden Pavilion" enacted anachronically), "Koto," "The Hole," "The Makioka Sisters," etc. Everything Ichikawa's helmed that I've seen deserves recommendation; his work occupies a tonal sweet spot between Mizoguchi's and Kobayashi's tragic sentimentality and the blunt, often comic cynicism pioneered by Imamura and Oshima.