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.
Category: Reviews
In Her Room (2022) review
For those who succeed in looking past the phallus during Ito’s narrative will find a renewed respect of the complexity of the feminine position.
Twilight Cinema Blues (2023) review
While fun to watch, Hideo Jojo’s film is a trick of all trades, but a master of none.
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.
Short Movie Time: Neu Mirrors (2024) review
Keishi Kondo offers the spectator an unsettling illustration of the Lacanian gaze.
Desert of Namibia (2024) review [Japannual 2024]
Yoko Yamanaka delivers a cinematic masterpiece of subjectivity.
Belonging (2024) review [Japannual 2024]
Higashi delivers a touching exploration of love after death.
Shinobi no mono: Resurrection (1963)
A satisfying conclusion resolves the thematical exploration of destructive capitalistic pleasure in a satisfactorily yet maybe somewhat naive way.
Hijacked Youth – Dare To Stop Us 2 (2024) [Japannual 2024]
Inoue delivers a heartfelt ode to the mini-cinema and subjective failure.
Let’s Go Karaoke (2024) review [Camera Japan Festival]
This is perfect film for anyone who, after a long day full of struggles, wants to sit in a comfy chair and relax.
The Box Man (2024) review [Camera Japan Festival]
An incredible satisfying cinematic experience, one that enthrals the spectator from start to finish
Afternoon Angler’s club (2023) Review [Camera Japan Festival]
Hideo Jojo’s heartwarming tale of subjective growth and salt-water fishing is a pleasant watch.
Bushido (2024) review [Camera Japan Festival]
Kazuya Shiraishi proves that the frame of the samurai and the Edo society can still be utilized to deliver refreshing narratives.
Shinobi no Mono 2: Revenge (1963) review
Satsuo Yamamoto reveals the frailty and replaceability of the capitalistic father in an engaging way.
Shinobi no Mono: Band of Assassins (1962)
Yamamoto expertly utilizes the game of disguises, traps, gadgets, concealed passages, hidden stairs, and trapdoors, to offer an allegorical tale of the post-war subject’s conundrum
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