“Sion Sono’s poetry questions enjoyment and its function within contemporary Japanese society with ultra-violent precision. This is, in other words, Sion Sono at its finest.”
With Tokyo Vampire Hotel, Sion Sono finally found his chance to turn his childhood fascination, which started when he watched the 1958 cult classic Dracula starring Christopher Lee as a child – into a cinematographical product (General-note 1).
Our next guest for Talks with directors is Kenji Yamauchi, director of Being Mitsuko (2011), her father my lover (2015) and, of course, At the Terrace (2016). We’re grateful that Kenji Yamauchi took the time to sit down with us to discuss various aspects of his work. He talks about how he got interested in cinema, his inspirations, the differences between theater and cinema and his future project.
In celebration of Noise winning first place at psycho-cinematography’s top 10 Japanese movies of 2017, we also sat down with Matsumoto Yusaku (松本優作) to talk about his first full-length feature, the process of creating his debut narrative, his past and ofcourse his future. With his short but to the point answers he gives us valuable insights, while creating new questions for us along the way.
With Journey of the Tortoise receiving a glaring review on this blog, we were very interested to sit down and have a chat with Tadashi Nagayama about his past, his present and his future. With short and to the point answers, Nagayama provides an interesting insight in his work and the influence of having become a father.
“[The narratives do] underline Katsumi Sasaki’s potential to become one of the best directors of the genre.”
Splatter, gore, horror, … . It wouldn’t be surprising if the next signifier one associates with these three words would be Japan. Japan has crafted some of the most crazy splatter and gore narratives to date.
“A magnificent and unforgettable encounter with Yonosuke and with the importance of the encounter and the worth of being subject this experience underlines.”
While Shuichi Okita’s cinematographical oeuvre is not large in any way, his narratives, often about quirky and somewhat eccentric men [e.g. The Chef of the South Polar (2009) and The Woodsman and the Rain (2012)], have time and time again proved to charm audiences – and to earn some awards along the way.
“Those who are able to visually scrutinize the (…) detailed historical narrative space will (…) enjoy the narrative’s atmosphere and appreciate the pacifistic message about tradition and craftsmanship that this atmospheric narrative formulates.”
Despite having made nine full-length feature films, Yoshinari Nishikori still remains a rather unknown director internationally. Without a doubt his latest narrative TataraSamurai, a movie about traditions that seemingly capitalizes on the western need for more jidai-geki, has changed that.