“As limbs get scattered and blood flows, one comes to realize that there might be only one Japanese director who can compose these massacres with such stylish precision.”
Six years after the melodramatic and narratively layered Hara-kiri: death of a Samurai (2011) and seven after the epic universally acclaimed remake 13 Assassins (2010), Takashi Miike finally returns to the samurai genre with Blade of The Immortal.
To celebrate today’s announcement of Tanaka Jun’s Bamy being part of the Torino 35, the competition section of the Torino film festival, we present Tanaka Jun’s personal all time best top 10 movies. Tanaka’s selection of movies is daring and interesting and provides a unorthodox insight in his way of thinking about movies and the cinematographical things he wants to pursue in future projects.
“Another masterpiece of Shunji Iwai (…) revealing how the reliance and the importance on the imaginary deconstructs genuine human connection but also forms the necessity to be able to form any social bond whatsoever.”
Shunji Iwai is nothing other than a legendary director. Having made narratives like Love Letter (1995) and All About Lily Chou-Chou (2001), he has made a name for himself as a director that investigates how subjects, who find themselves seemingly cut off from society and the social bond, still find a way, even if understanding each other is difficult or near impossible, to find a place in society.
“[The] narrative (…) exert[s] a strange charming attraction on the spectator [while painting] a purified account of the guiding nature of desire and the importance of taking part in the social field.”
The Watanabe brothers – owners of the production group Foolisch Piggies Films, already carved a specific name for themselves on the international scene by releasing various refreshing and rather experimental cinematographical narratives mixed with Hirobumi’s subtle humour. Last year’s Poolsideman (2016) won the Japanese Cinema splash award at TIFF and was met with critical acclaim at various film festivals.
“The cinematographical lyricism – poetics by movement and poetics by the signifier – (…) masterly isolates the problematic nature of male sexual enjoyment and the hypocrite situation of a male-dominant society professing freedom.”
Given Sion Sono’s track record of creating movies that turn around sexuality (Guilty of Romance (2011)) and aggression (Suicide circle (2002)), and investigate, often poetically, human nature and society, it should not have come as a surprise that Nikkatsu invited Sono to create a roman-porno to celebrate the 45th anniversary of Nikkatsu’s Roman Porno label.
“As blood splatters around and flying limbs are flying too, the narrative etches an unsettling and claustrophobic encounter with the demise of humanity.”
Shin’ya Tsukamoto, who directed narratives like the cyberpunk horror narrative Tetsuo: the iron man (1989), Bullet Ballet (1998) and the surreal erotic-thriller A Snake of June (2002), is nothing else than a cult director. Well-known for this explicit depictions of violence – depictions aiming to reveal the violence and erotic feelings inherent to the subject, Tsukamoto decided to use the depictions of violence in Fires on The Plain for a different purpose: to reveal the horror of the war.