Mukoku (2017) review

Kumakiri offers a fresh breath in the Japanese sports genre by focusing on trauma, the ill-fitting of the subject within the societal Other, and the importance of forming bonds with the other.

The Taste of Tea (2004) review

Katsuhito Ishii’s offers the spectator a satisfying kaleidoscopic exploration of the emotional fabric of life and the importance of familial bonds.

A Man (2022) review

A compelling and thrilling exploration of the reality of identity fraud and the damaging effect societal discourses can have on a subject and his ego.

Sin And Evil (2024) review [Japannual 2024]

Saito shows that the Other always bears some responsibility for the subjective outcomes of dysfunctional familial dynamics and the criminal excesses that plague its mendacious image of peaceful harmony.

I Was Born, But … (1932) review

What allows Ozu’s exploration of parental failure to retain its power to charm and engage is the very fact that every child needs to go through such phase.

A Story Written With Water (1965) review

An exquisitely layered psychological drama that unveils how a subject’s fixation on a phantasmatic image disrupts his ability to commit himself romantically to the female other

Yoko (2023) review

A complex full-bodied filmic wine that cannot but stir the spectator’s emotions.

Bad Lands (2023) review

The incredibly well-crafted narrative structure, fuelled by Sakura Ando’s extremely satisfying performance, ensures that the spectator remains engaged from start and finish

Undercurrent (2023) review

Imaizumi delivers an engaging but understated emotional experience that explores the deceptive nature of imaginary veil that binds two subjects together.

Wash Away (2024) review [OAFF 2024]

A pleasant narrative that offers a fresh but familiar exploration of the subject’s fundamental desire for recognition/love and the problematic yet medicative function of consumption.