The late Japanese New Wave mainstay Shôhei Imamura said he liked his movies messy, and usually that meant seeing through civilized falsities to what was humanly true. At least once it meant the truth itself needed seeing through. Fiction twice earned him top honors at Cannes, but he also made one of the early and essential fact-fiction hybrids, whose U.S. premiere anchors a condensed, doc-centric Imamura retrospective at Anthology Film... More >>>