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 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 the year of 2017 coming to an end, it is time for Psycho-cinematography to finally look back on what has become a pleasant and surprising year of Japanese cinema. While the commercial industry churned out the usual melodrama’s and beloved manga/anime were turned into live-action movies, the Japanese indie scene also proved to be alive and kicking.
“The likeability of Gou Ayano as Tatsuhiko and surprisingly dense narrative makes sure that Shinjuku Swan is better than your average manga-adaptation”
With Shinjuku swan, an adaptation of Ken Wakui’s Manga series, Sion Sono presents one of his most commercial narrative to date. While Sion Sono has already ventured in translating manga to the silver screen – with his comically perverted eiga minna esupa da yo! (2015) and his bloody and gruesome Tag (2015), this narrative is one of the more mainstream movies he has made up until now.