“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.”
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.
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.
Kawashima stages this Freudian exploration of unconscious desires with an extraordinary compositional artistry.
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.
“Not only does Adachi frame the societal Other as the cause of the lost state of youth and the youth’s suicidal response, but Adachi also formulates, in a truly confronting way, his hope for this lost youth to find desire in creating a different Other for tomorrow.”
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.