A nuanced but moving exploration of the destructive power of the media, the danger of leaving things unsaid, and the fact that mundane or empty speech is, by its reliance on the imaginary dimension, structured by misrecognition.
Introduction With Lady Snowblood: Blizzard of the Netherrealm (1973), an adaptation of Kazuo Koike’s popular manga Lady Snowblood (1972 – 1973), Toshiya Fujita created a beautiful, strong demonic woman who turns killing people, with her sharp sword, into an elegant art. Fujita’s sequel about this deadly beauty is, contrary to first narrative, not based on…
“Kenjo McCurtain mixes the right elements into a musical romantic cocktail that is both heartfelt and deeply satisfying.”
Teruo Ishii is unable to deliver what made the first film so enjoyable: the visual celebration of Ocho Inoshika’s phallic fury.
A highly relevant narrative that succeeds in underlining the importance of fighting against a-moral system of media manipulation.
“An amazing exploration of the clash between a sweet youthful romantic desire and the bitter urge of a wounded subject to defend his subjective wounds.”
A short experiment that succeeds in engaging the spectator and keep him on the edge of his seat until the very end.
“Gokan expertly reveals the position of the freeter as an attempt to escape the capitalistic machinery but also as a position that most easily falls prey to the ugliest structures of exploitation to keep the profit-focused system going.”
A great film that shows that the madness of the male subject is often function of a woman, of a woman that unknowingly puts the by a man assumed phallic position of being desired radically into question.
Imamura’s ‘Black Rain’ is, without a doubt, one of the most important films about the atomic bomb ever made and should be mandatory viewing for anyone who holds the promise of world peace dear.
An impressive narrative that, due to its short runtime, leaves the spectator wanting more.
A great and visually pleasing narrative about the socially embedded nature of the process of coming-into-being-as-subject.
Gamera 3: Revenge of Iris is, without a doubt, the best film of the Heisei Gamera trilogy.
A great sequel that delivers everything what Kajju fans desire, but in a less thrilling manner than the first reboot film did.
A successful reboot that succeeds in honouring Gamera’s classic past, while also evolving this iconic Kaiju in a meaningful way.