Frantic (2021) review

“Fuji delivers his best movie yet and, quite possibly, the cult-film of the year.”

Spaghetti Code Love (2021) review [Japan Cuts 2021]

“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.”

A Beast In Love (2020) review [JFFH 2021]

“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.”

The Town of Headcounts (2020) review [Nippon Connection 2021]

“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.”

New Neighbour (2013) review

“A pleasant narrative that underlines, in more ways than one, the fact that sexuality can be very problematic for a (female) subject.”

Ride Or Die (2021) review

“A highly enjoyable romance narrative that thrives on a rich current of heartfelt romantic and raw natural emotions. “

Hotel Iris (2021) review [Osaka Asian Film Festival]

“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.”

True Mothers (2020) [TIFF 2020]

“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.”

Lovers Are Wet (1973) review

“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.”