“Not only a narrative about the destructiveness of male sexual opportunism, but also (a narrative) [that explores] the irreducible opaqueness of the female subject as such.”
Oshima succeeds in dissecting in a very precise way how the Other, an Other marked by patriarchy and capitalism, is able to empty the youthful subject of his ideals and dreams as well as how the rebellious protest of certain youthful subjects is, in many cases, an affirmation of the very dynamic that underpins the functioning of the Other.
“Not only does Adachi frame the societal Other as the cause of the lost state of youth and the youth’s suicidal response, but Adachi also formulates, in a truly confronting way, his hope for this lost youth to find desire in creating a different Other for tomorrow.”
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.
His peaceful slice-of-life narrative delivers an pleasing exploration of the notion of the family secret and how guilt can drive people to pay of their imagined debt.
Miike’s horror-narrative provides all the thrills, and tropes for that matter, fans of J-horror have come to expect from the genre.
“We introduce our recommendations for this year’s Japan Cuts, including Labyrinth of Cinema (2019), Murders of Oiso (2019), Extro (2020), Roar (2019), and Shell and Joint (2019).”
“Ninagawa’s representation of the final years of Dazai’s life is an enjoyable experience.”
“He had but one cause: to achieve world peace with the power of the cinematographical narrative.”
A commentary of a night with friends of the Japanese indie-scene.
“Takashi Miike’s latest beautifully underlines that the only kind of violence worthy of humanity is a violence born out of love.”
“Read our report of the Q&A with Takashi Miike and Masataka Kubota we attended and our introduction of the CinemAsia Film Festival. “
“A true classic of political driven cinema that has, maybe contrary to one’s expectations, remained as relevant as it was in the past.”
“Sabu’s splendidly structured genre-mix will surely please his fans as well as charm those who are new to his oeuvre.”