Shimizu’s narrative remains, after all these years, an effective horror film and a J-horror classic in its own right.
Terrifying Girls’ High School: Delinquent Convulsion Group (1973) review
“A film that does not give the male spectator the chance to satisfy his gaze but shockingly confronts him with violence that is born from the corrupted phallic game and supported by intoxicating phallic fantasies.”
Wedding High (2022) [Female Gaze – Japan Society]
Akiku Ohku might not only have delivered her best narrative yet, but one of the best comedy narratives of this year.
Goodbye Cruel World (2022) review [Japannual 2022]
“A stylish exploration of the cruel call for destruction that structures the perverse criminal field.”
Rageaholic (2022) review
“A great dystopian narrative that clearly gives expression the director’s fear of certain right-wing tendencies that linger within Japanese society.”
School In The Crosshairs (1981) review
A heart-warming sci-fi flick that dazzles the spectator with its expressive and colourful effects.
Bad City (2022) review [Camera Japan Festival]
Sonamura delivers everything one expects from an action-thriller.
A Haunted Turkish Bathhouse (1975) review
It is via the splatter of blood, the concatenation of sexual acts, and the ghostly revenge that Yamaguchi presents the male spectator his truth: that he, beyond fantasy and desire, is a merely castrated being.
A Girl On The Shore (2021) review
“Ueda’s engaging film is all about two subjects trying to escape their phantasmatic identification with the notion of trash.”
Ninja Girl (2021) review [22nd Nippon connection]
“A political satire that will not fail to please audiences, but lacks the thematical punch to make a statement that will long linger in the spectator’s mind.”
Gonza the Spearman (1986) review
“A fabulous narrative that offers a satisfying exploration of the tragedy of phallic ambition and the destructive potential of desire.”
Battlecry (2021) review [IFFR 2022]
Yanakaya succeeds in visually engaging the spectator and deliver a narrative that will leave audiences satisfied.
Ayako Tachibana Wants To Go Viral (2020) review
“Amane does not only blend horror and eroticism fluidly together, but does so to deliver a satisfying critique of how social media eventually becomes a tool for male subjects to chase their phallic fantasy.”
Terrifying Girls’ Highschool: Lynch Law Classroom (1973) review
“Suzuki’s narrative offers an excellent critique of the exploitative dimensions of the phallic patriarchal society.”
Crazy Thunder Road (1980) review
“A nihilistic and wild exploration of the self-destructive nature of a relentless search for a dose of pleasure.”