With his latest narrative, Keisuke Yoshida (Blue (2021)) turns a cinematic glance at juvenile delinquency. Yet, what urged him to tackle this societal symptom was not simply an interest, but the need to question the societal environment he grew up in and offer this result of elaboration to the audience. While Keisuke Yoshida saw…
Gosh!! (2025) review [Camera Japan Festival 2026]
Odagiri Jo offers a healthy dose of comical absurdity, a dose that the contemporary subject regularly needs.
Street Kingdom (2026) review [Camera Japan Festival 2026]
“Punk cinema for those who never knew they needed the spirit that fuelled it.”
Sheep In The Box (2026) review
The cerebral stillness of the film and its thematical fragmentation constitutes an inviting call for audiences to ponder over its obliquely-raised questions.
Kinki (2025) review
Koji Shiraishi offers a pleasant horror-experience that successfully plays with the spectator’s expectations yet he forgets to create a truly satisfying finale.
Camera Japan Festival 2026: Our recommendations
Do you not yet know which Japanese film to give a chance at the Camera Japan Festival? Let us guide you.
Funuke: Show Some Love, You Losers! (2007) review
Daihachi Yoshida delivers a darkish comical experience that quite seriously exposes the fictitious dimension of our ego – of the image we present to others.
Retake (2023) review
A heartwarming exploration of time as what creates the possibility for the signifier, enunciated or left unsaid, to sort reparative effects on the subject and his relations to others.
Pink Auteur, Red Outlaw: Masao Adachi and Japan’s Cinema of Revolution (2026) [Book review]
William Andrews’ book is the first English giant upon whose shoulders people interested in Masao Adachi and his oeuvre can stand on.
The Parades (2024) review
A narrative that fulfills its promise, allowing the spectator to fleetingly commemorate his or her ‘losses’.
Woman From The Sea (1959) review
Kurahara offers a fresh take on the sun-tribe genre by disrupting the tale of post-war subjective emptiness with an element of horror – the sudden appearance of an otherworldly being.
Watcher In The Attic (1976) review/analysis
Tanaka delivers one of the clearest explorations of the radical difference between the neurotic and the pervert.
Love On Trial (2025) review
One the most honest explorations of the idol-phenomenon, touching both on the dark and the bright sides of clothing oneself with an idol-image for the male other
Love Doesn’t Matter to Me (2025) review
Aya Igashi corroborates with her latest film that she fully grasps the difficulty for the subject to find within the Other a symbolic place for himself
The Convenience Store (2026) review
A straightforward horror-experience that works well for new-comers to the genre and young audiences in need for some thrills.