AntiPorno (2016) Review


“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.

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Fires on the plain (2014) review.


“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.

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種をまく人 (2016) レビュー (日本語)





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Bangkok Nites (2016) [Camera Japan Festival]



“That is why, when all is said and done, the narrative of Luck and Ozawa, due to the lack of the cinematographical conciseness and thematic focus, is not able to truly touch and captivate the spectator.”


Even after wars are over, the scars left by the war are still visible. If you go to my country, Belgium, and visit the western corner of West-Flanders, the various graveyards of American, German, Canadian, …etc. and the left-overs of the bunkers are fixed reminders of the first world war. What concerns Thailand, the scars present there are reminders of their colonial history.

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