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.
Sion Sono does not only offer an eloquent celebration of the beauty of the crazy little thing called desire, but also delivers a truly powerful encouragement for the contemporary subject to unshackle himself from the societal or psychological imposed restrictions and fight for his/her desire.
In a languid but highly transparent way, Ohmori confronts the spectator with the subjective and interpersonal ravage the insatiable desire for love and the need for a proof of the other’s love eventually causes.
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.”
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.
A great indie romance film that underlines the very importance for subjects to establish inter-subjective (romantic) relationships.
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.
“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.”
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.
“A pleasant narrative – full of lighthearted, romantic, and familial moments – that could have been better.”