Ainu Mosir (2020) review

Fukagawa offers an enlightening insight into the problematic position Ainu culture holds within the broader Japanese Other and the subjective problems being born in these two Others can cause.

Not Quite Dead Yet (2020) Review

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.

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.

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.

Sakura (2020) review [Japannual 2020]

“A great narrative that does not only show that family happiness is but a semblance – behind the smiles hides pain and sadness – but also the very fact that the subject can only grasp his present subjective state by narrativizing (and, in many cases idealize) his past.”

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.

It comes (2018) review

“A wonderful exploration of dysfunctional familial bonds and the destructive impact narcissism has on human relations.”