Mother (2020) review

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.

Voices in The Wind (2020) review [Japan Cuts 2020]

“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.”

Daughters (2020) review [Japannual 2020]

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.

The Hardness of Avocado (2019) review [Camera Japan 2020]

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.

The Other Home (2018) review [Camera Japan 2020]

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.

Sacrifice (2019) review [Japan Cuts 2020]

“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.”

Kontora (2019) review [Japan Cuts 2020]

“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.”