“Fuji delivers his best movie yet and, quite possibly, the cult-film of the year.”
A veritable horror classic.
“Masamura delivers a phenomenal narrative, a true post-war classic.”
“Maruyama’s narrative speaks powerfully to the spectator’s subjectivity – his fears and hopes – and enables his evocation of a glimmer of hope that remains present in this dark depressive modern relational mess to positively impact his audience.”
“McKie’s film is not only the best dance-film of recent years but might very well be one of the best Japanese films to be released this year.”
“A divisive exploration of the various sides of the crazy little thing called love decorated with a demented finale, which is as disturbingly violent as it is shockingly romantic.”
“A truly enjoyable comical experience.”
“His dystopian ‘thriller’ does not only masterly highlight, in a chilling way, the various ills that marks contemporary society, but also shows, that within such dystopian world, a subject can always rediscover something to life and fight for.”
A great experiment of the absurd, but its full potential to satisfy the spectator is hindered by its somewhat lackluster composition.
“A pleasant narrative that underlines, in more ways than one, the fact that sexuality can be very problematic for a (female) subject.”
“A highly enjoyable romance narrative that thrives on a rich current of heartfelt romantic and raw natural emotions. “
Teruo Ishii is unable to deliver what made the first film so enjoyable: the visual celebration of Ocho Inoshika’s phallic fury.
“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.”
“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.”
“Not only a narrative about the destructiveness of male sexual opportunism, but also (a narrative) [that explores] the irreducible opaqueness of the female subject as such.”