By the time Wim Wenders won the Palme d’Or at Cannes for Paris, Texas in 1984, he was well established as an internationally renowned director. He made his first big splash on the world stage in the early 1970s along with other New German Cinema directors (Werner Herzog, R.W. Fassbinder, etc.) with films such as The Goalie’s Anxiety at the Penalty Kick (1972) and Alice in the Cities (1974). Wenders had also dabbled with non-fiction-like formats in early experimental shorts, music videos and the Cannes-focused TV documentary of various film directors in Chambre 666 (1982). Yet, it was Tokyo-Ga 1985), the feature length portrait he made directly after Paris, Texas, that really triggered Wenders’s interest in not just non-fiction filmmaking but in Japan cinema and culture, especially the works of Yasujiro Ozu.