A beautiful experimental documentary exploring the position of life and death within the Mayan society of the past and the current society.
What makes Tanada’s film enjoyable is not its overindulgence in drama, but its refusal to exploit the dramatic turns of the narrative for easy tears.
Yamada still delivers that what makes Tora-san so enjoyable for audiences: his problematic truth; that the little freedom he has in relation to the Other condemns him to an existence of being, over and over again, duped by that very Other
“A piece of Japanese cinema history that no cinephile should miss.”
“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.”
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.
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.
Ishii’s latest is not only a highly relevant narrative, especially for Japanese subjects, it might very well be the best Japanese film of this year.
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.”
A visually impressive meditative exploration of the art and the philosophy of Bizen pottery that also gives a better insight in how lack and desire functions within human relationships.
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.
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.
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.