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

“a slow but beautiful meditation on the necessity for the subject to utilize the signifier – i.e. to speak with others and to the Other – to start the process of subjectifying the loss/the real that derailed them.”

Short Movie Time: The Report (2020) [JFFH 2020]

Fukushima’s latest might lack the depth some other short films have, this does not stop his Sci-fi romance music video from being a pleasant narrative that also succeeds in touching the spectator.

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.”

Take Over Zone (2019) [Camera Japan 2020]

While Yamasaki’s message is clear, the delivery of his positive message of empowerment would have more gripping and emotionally powerful for the spectator if the sound-design were on point.

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.