“A beautiful and emotionally rich meditation on the complex notion of motherhood, underlining, in a touching way, that the first essential step in becoming mother is the subjective assumption of the signifier mother.”
A great narrative from a thematical perspective – exploring, with clarity, the impact of a phallic object on male subjective functioning, that is stylistically unable to turn Take’s thematical exploration into a truly powerful experience.
“A jack of all trades but a master of none.”
Beautifully evokes how women become victim of the traditional patriarchal elite and how subjective happiness is not found in the mere acceptance of one’s own exploitation
An amazing and unconventional narrative that not only explores the eroticism of the oral drive in an enticing and visually pleasing way, but also succeeds to touch, in a lighthearted way, upon the complexity of sexual desire as such.
A truly moving narrative that explores, in a very nuanced but detailed way, the difficulty for subjects to meet the Other, the beloved Other, as subject.
This narrative proves that Kenjo McCurtain shows promise as director and as writer.
A satisfying and touching drama that highlights the importance of acknowledging about one’s loss and confronts us with the fact that, for the subject, his/her loss is, first and foremost, a loss of an ideal image.
Kawashima stages this Freudian exploration of unconscious desires with an extraordinary compositional artistry.
With his artful composing hand, Yoshishige Yoshida paints how a romance unable to transform into an inter-subjective relation of love can impact the subjectivity and illustrate, in a subtle but sensible way, the Freudian truth that every Eros is, in the end, a death drive.
A painful but beautiful narrative about the difficulty to instigate subjective change and the impact such struggle has on relations.
Oshima succeeds in dissecting in a very precise way how the Other, an Other marked by patriarchy and capitalism, is able to empty the youthful subject of his ideals and dreams as well as how the rebellious protest of certain youthful subjects is, in many cases, an affirmation of the very dynamic that underpins the functioning of the Other.
A fabulous and unique romance horror narrative that uncovers the often-forgotten truth that all speaking beings are driven by a desire to be loved/desire to love.
While Not Quite Dead Yet is about the importance of communication and about assuming a desire as subject, Hamasaki’s narrative delivers its message in manner that is, when all is said and done, not alive enough.
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.