[a] rich psychological reflection on fundamentally flawed subjects and the way in which they deal with in loss. (…) . In short, Nishikawa has once again crafted a masterpiece.”

Love And Goodbye And Hawaii (2017) Review

“In a gentle and subtle manner the narrative expresses its views on life, love and relationships, views that (…) do not fail to struck an emotional cord”

映画監督との話し合い: Tanaka Jun

First of all, thanks to Jun Tanaka to have taken the time to answer my questions. The interview was conducted bilingually and the English translation of the interview will be published in the coming week. The decision to publish the Japanese version has a simple reason; the signifiers he uses are his own. As such…

“Shady reveals in an unsettling way, precisely what love is not about. (…) Watanabe’s visual language shows a lot of potential (…) And it is this potential we want to see blooming in the future.”

“Yureru proves to be a very intimate emotive meditation on the mendacity of identity and the subjectivity in experiencing reality. It is a sublime meditation we recommend to everyone.” Introduction In 2006 Miwa Nishikawa released her second feature film Yureru. As her first feature film, Wild Berries (2003), for which Kore-eda was the producer, garnished many awards,…

“Tampopo remains a fresh and engaging narrative (…) [that] shows that life, in all its aspects, turns around food and the enjoyment it provides. (…) If you didn’t eat properly before, it’ll make you hungry at the very same time.”

Creepy (2016) Review

“Kurosawa’s masterful formal approach to cinematography shows vividly that creepiness lurks at the surface of society (…) So yes, Creepy lives up to its name, as a masterpiece. And yes, you will think twice about getting cozy with your neighbours”.

Bamy (2017) Review

“Bamy is a fresh and compelling narrative, […] framing the unsettling unheimlich so sensible on the silver screen. […] we can’t wait till Tanaka’s cinematographical style comes into full bloom.”