In a languid but highly transparent way, Ohmori confronts the spectator with the subjective and interpersonal ravage the insatiable desire for love and the need for a proof of the other’s love eventually causes.
“A slow but beautiful meditation on the necessity for the subject to utilize the signifier and speak with others and to the Other in order for start the process of subjectify the loss/the real that has derailed them.”
With ‘Malu’, Edmund Yeo proves that he is a master visual poet of the mundane and of the ‘cruel’.
Ishii’s latest is not only a highly relevant narrative, especially for Japanese subjects, it might very well be the best Japanese film of this year.
With his simple, gentle, and authentic exploration of how a pregnancy rewrites one’s current and future life, Tsuda proves that one does not need a complex narrative or a profound thematic depth to touch the spectator.
Jo Masaya’s anti-romantic narrative does not only show the spectator the need for the subject to question their own subjective position, but also the importance to take the other serious at the level of his/her subjectivity.
Nishikawa shows, in a heartwarming way, that while there is a need to identify ourselves somewhat with the ideal image of our significant other, such identification should not be at the expense of our subjective position.
“A truly pleasing audiovisual experience but also a powerful poetic exploration of the ills of Japanese society and the need to change it for the better.”
“A compelling exploration of the enticing power religious cults and militaristic organization have in a society driven by consumption and enjoyment and – as vague as it may sound – the Otherness of the others.”
“An effective warning against further relying on nuclear energy alone to power the country.”
“A very atmospheric but rather restrained exploration of the difficulty subjects face in their attempt to break their subjective deadlock and start their search for a desire.”
“Kogahara skillfully uses the operation of association to evoke that what, at a verbal level, remains avoided.”
“A splendid and sensible exploration of the interpersonal and social persecutory face of bullying.”
“One of the most powerful confrontations with the violence of the imaginary.”
“Ninagawa’s representation of the final years of Dazai’s life is an enjoyable experience.”