“A charming exploration about the way in which the other allows a drifting subject to moor his desire and find a direction for his subjectivity within the Other.”
Lindsay tells truths we need to hear and delivers them in an understated but visually pleasing way.
Beautifully evokes how women become victim of the traditional patriarchal elite and how subjective happiness is not found in the mere acceptance of one’s own exploitation
A satisfying and touching drama that highlights the importance of acknowledging about one’s loss and confronts us with the fact that, for the subject, his/her loss is, first and foremost, a loss of an ideal image.
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.
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.
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.
With ‘Malu’, Edmund Yeo proves that he is a master visual poet of the mundane and of the ‘cruel’.
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.
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.
“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.”
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 pleasant narrative – full of lighthearted, romantic, and familial moments – that could have been better.”
“Kotani beautifully shows how important the signifier is for the subjectivity of the speaking being.”
“A wonderful exploration of dysfunctional familial bonds and the destructive impact narcissism has on human relations.”