Director Kurando Mitsutake's Works at www.KurandoMitsutake.com

Samurai Avenger Lone Wolf Blood -Episode 24-

2004 / USA / Super 16mm / 1.85.1 / Color, BW

SAMURAI AVENGER -LONE WOLF BLOOD- [EPISODE 24]

Cast:

Producer:

Screenplay:

Camera:

Music:

Editor:

Stunt Coordinator:

Masami Kosaka /
Annie Abrams

Zachary Welch /
Koodae Kim /
Keach Hogan

Kurando Mitsutake

Teru Yoshida

Water Method

John Migdal

Yoshio Iizuka

They call him Lone Wolf Blood. Kenzo Togo, a samurai who walks alone, burns to avenge his loved ones who are no longer of this world. For centuries the Togos were entrusted by the Shogun to guard the treasured sword, Raidenmaru. The sword of legends. Hearing of its power from across an ocean, an American swordsman, Johnson, brutally murdered Kenzo’s family to capture Raidenmaru. But Kenzo escaped with his life. Now he alone can restore his family’s honor and seize back Raidenmaru!

Prepare yourself for Episode 24 - Duel in the Desert! Lone Wolf Blood vs. Goddess of Death!

AJINOMOTO USA -Frozen Gyoza- (Commercial)

2004/USA/Digi-Beta/Standard/Color

Cast:

Producer:

Camera:

Kazumi Hashimoto
Mami Tanaka
Yutaka Takeuchi

Rin Ueno

Hiroyuki Kotaki

Due to the copyright issues,
no image is available.

TV commercial for Ajinomoto USA.
Frozen Gyoza Series.

Monsters Don't Get to Cry

2004 / USA / 35mm / 1.85.1 / Color

Cast:

Producer:

Screenplay:
Camera:
Music:
Editor:

Dean Simone /
Kyle Ingleman
Nathan Matheny /
Kurando Mitsutake
Christopher J. Hansen
Hiroyuki Kotaki
Edward F. Niecikowski
John Migdal

After a brutal senseless high school shooting that left three teachers and eight students dead, a vengeful father kidnaps the shooter from police and takes him to an abandoned warehouse.
His intention: to execute the killer himself.
But he soon realizes the boy doesn’t value human life and has no remorse for what he did.
In his rage, the father feels he is left with no choice but to teach the killer a horrifying lesson through pain and torture, to make him realize the weight of his crimes.

Behind You

	2002 / USA / DV / Standard / Color Cast: Kristina Koltai / Keith Page Camera: Van Flesher Music: Jyunpei Tsujimoto Screenplay: Keach Hogan A 3 minute short digital movie for Japan's "Yahoo! Broad-band" website. The project was produced as a promotional tool for DSL connections in Japan.

Kyomu Memento Mori

1998 / USA / Hi 8, 8mm, 16mm / Standard / Color

Cast: Emma Nagata
Camera: Kurando Mitsutake / Shugo Fujii
Music: Steven Mack

A performance video that was inspired by a stage show with dancer/choreographer Emma Nagata. The video was screened at the American Dance Festival, IDAT Arizona University Film Festival, and the Argentina International Film Festival.

The Killer, The Wounded, and The Liar

	1998 / USA / 16mm / Standard / Color Cast: Charles Gilbert / Loren Hughes / Kurando Mitsutake Camera: Van Flesher Music: Blaine Flewin Screenplay: Astha Ameresekere / Kurando Mitsutake Two mysterious men sit at bar talking about a legendary Japanese assassin. Their stories start to differ one to the other. Who is telling the truth and who is lying? A Suspense Film Noir.



Related Articles	<Article 1>	<Article 2>	<Article 2>

MUJO-JIN

	1995 / USA / 16mm / Standard / Black&White Cast: Kurando Mitsutake / Shoko Yokoyama / Masunobu “Boo” Motokawa Camera: Van Flesher Music: Blaine Flewin Screenplay: Kurando Mitsutake During the Edo era (17th Century) in Japan, two samurai are in love with one girl. Their love triangle leads them to a tragedy of bloody sword duels.

Art Films

Gai-Gin	While studying at the San Francisco Art Institute, I was very much into so-called “art films.” I produced 8mm films such as “A Boy And The Beach” (1992), a poetic visualization of environmental issues and the emotions of puberty, “Death” (1992), an attempt to capture on film the moment of death, a living creature losing its life (a fly in a glass and the camera rolled until it died), and “Seven Dinner” (1992), a documentary of the daily diet of a guy (me) living alone. “Gai-Gin” (1993) was my first 16mm film. Coming from Japan to study in the U.S. as a high school student, I experienced the treatment of being a “foreigner” for the first time in my life. I transposed that sentiment to a Caucasian living in Japan, a “gai-gin" (foreigner), with the film. It’s more abstract than narrative and I still like to watch it from time to time. And although I have moved away from the abstract to narrative storytelling, my roots in fine art films continues to influence my style in directing.