“An artfully composed erotic narrative that plays with the well-known psychoanalytic fact that the relational past of subjects impacts the possibility and appearance of sexual attraction between a man and a woman.”
Category: OAFF
Ito (2021) review [OAFF 2021]
“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.”
B/B (2020) review [OAFF 2021]
“Nakahama succeeds in delivering his message concerning the human tendency to misrecognize the traumatic pain of others in a fresh and touching manner.”
The Asian Angel (2021) review [OAFF 2021]
“Ishii’s latest succeeds in showing, in a powerful and touching manner, the possibility of intercultural friendship and romance.”
Yes, Yes, Yes (2021) review [OAFF 2021]
“A raw and powerful drama narrative that confronts the spectator with the inherent difficulty of accepting the loss of a loved one.”
Short Movie Time: Among Four of Us (2020) review [OAFF 2021]
“A great short narrative that beautifully highlights the impact of the state of emergency on the subjective and social state of speaking beings.”
Over The Town (2021) review [OAFF 2021]
Imaizumi’s narrative littered with a multitude of beautifully nuanced moments of natural relation poetry.
A Rainbow-colored trip (2021) review [OAFF 2021]
A great narrative that does not only touches upon the beauty of one’s first love (…), but also on the selfishness that drives the wishes of human subjects.
For Rei (2019) review [OAFF 2020]
“A pleasing and moving questioning of fatherhood and the role of love in bringing subjects together.”
On the Edge of Their Seats (2020) [OAFF 2020]
‘One of the most powerful narratives concerning desire to date.’
Good-bye (2020) [OAFF 2020]
“A subtle but uncompromising exploration of the oedipal problematic”
The Murders of Oiso (2019) review [OAFF 2020]
“Highly original and touching to boot. (…) highly recommended.”
Short Movie Time: Hammock (2018) [OAFF 2020]
“Kentaro Kishi reveals himself as a master of framing small moments of endearing happiness as well as a director with poetic sensibilities.”
Short Movie Time: Nagisa (2017) [OAFF 2018]
“Takeshi Kogahara’s impresses with his highly evocative tragedy of subjective inhibition.”
Short Movie Time: Yukkuri/slowly (2019) [OAFF 2019]
“A creative experiment that successfully plays with the notion of the unsaid and affirms her visual sensitivity and her compositional strength.”
