“Yamada’s latest offers not only a powerful homage to the late great Kiyoshi Atsumi but also a moving nostalgic ride along many of the iconic scenes of the series.”
A very pleasant narrative that vividly underlines the importance of social bonds for the integration of a subject within the social field as well as the fundamental role the O/other plays in the process of becoming a desiring subject.
“A jack of all trades but a master of none.”
Nishimura succeeds in delivering a visually pleasing and crazy love-letter to the culinary art of ramen.
While Not Quite Dead Yet is about the importance of communication and about assuming a desire as subject, Hamasaki’s narrative delivers its message in manner that is, when all is said and done, not alive enough.
Sion Sono does not only offer an eloquent celebration of the beauty of the crazy little thing called desire, but also delivers a truly powerful encouragement for the contemporary subject to unshackle himself from the societal or psychological imposed restrictions and fight for his/her desire.
Yamada still delivers that what makes Tora-san so enjoyable for audiences: his problematic truth; that the little freedom he has in relation to the Other condemns him to an existence of being, over and over again, duped by that very Other
“A piece of Japanese cinema history that no cinephile should miss.”
While the narrative has subtle comical flair, “Be My Baby” does not fail to confront the spectator with the two most important obstacles to romantic happiness: the refusal to take one’s own and the other’s subjective position into account and the unquenchable power of sexual desire.
“With his low-key dramedy, one will laugh, one will tear up, but above all, one will come to understand that matters of romance always require a leap of faith.”
Fukada offers plenty of comical moments, a myriad of pleasing musical sequences, and endearing romantic segments but fails to deliver the emotional powerful moment the narrative needed.
“Despite offering plenty of fun moments and tons of silliness, the sequel fails to truly surprise and explore the thematic riddle of the structural role perversion plays in human subjectivity in a truly meaningful way.”
“What makes Milocrorze: A Love Story truly wonderful is that Ishibashi, beyond offering a highly absurd narrative and rich visual ride, also delivers an exquisite commentary on the imaginary dimension in subjective functioning.”
“A more daring approach could have made ‘Project Dreams’ into an even more powerful celebration of technology and the inspiring power of anime.”
“A loving ode to filmmaking that underscores that without extras, there would be no stars to shine.”