“Kentaro Kishi reveals himself as a master of framing small moments of endearing happiness as well as a director with poetic sensibilities.”
11 Japanese movies to watch in quarantine.
“With Covid-19 raging throughout the world, many people are ‘ordered’/asked by their governments to stay inside and socially distance themselves. To overcome this harsh time, we compiled a list of ten amazing and easily available Japanese movies to watch during these strange and difficult times. “
Short Movie Time: Coming Back Sunny [2019]
“Noriko Yuasa succeeds in visualizing the bursting impact of love in a fresh and highly visual way.”
Talks with film-critics: Mark Schilling.
“We decided to sit down with him and interview him about the current state of the Japanese industry, how he became a film-critic, his style of reviewing and more.”
Small Commentaries: Friends of Japanese Indie Cinema.
A commentary of a night with friends of the Japanese indie-scene.
Short Movie Time: Nagisa (2017) [OAFF 2018]
“Takeshi Kogahara’s impresses with his highly evocative tragedy of subjective inhibition.”
Short Movie Time: Yukkuri/slowly (2019) [OAFF 2019]
“A creative experiment that successfully plays with the notion of the unsaid and affirms her visual sensitivity and her compositional strength.”
Videophobia (2019) review [OAFF 2020]
“A return to form for Daisuke Miyazaki.”
Paradise Lost (2020) Review
“Fukuma delivers a highly original exploration of the subject’s need to secure a place for himself to desire from.”
Short Movie Time: Tokyo Girl [PFF2019]
“Hashimoto offers a more clear analysis of the problems subjects have to cope with within contemporary society than most feature-length movies do in there entire run-time”
Short Movie Time: When The Rain Stops (2018) [PFF 2019]
“A bittersweet narrative that questions the possibility of friendship beyond the mere ego-to-ego interactions.”
Mrs Noisy (2019) review [CinemAsia Film Festival]
“With her narrative, Amano successfully urges the spectator to be more considerate of someone else’s subjective position.”
Tezuka’s Barbara (2019) review [CinemAsia Film Festival]
“A moody narrative that beautifully reveals that addictive love, in the end, serves nothing but the egoistic needs of the addicted subject.”
First Love (2019) Review
“Takashi Miike’s latest beautifully underlines that the only kind of violence worthy of humanity is a violence born out of love.”
Just Only Love (2019) Review
“A touching exploration of how un-recruited love eventually scars subjectivity.”
