Norifumi Suzuki’s narrative is not only a pleasing narrative full of betrayal, cat-fights between clans, rape, extortion, and acts of revenge, but also a powerful critique against the inherent perversity of hierarchical society.
Category: Sexuality
Stay (2018) review
A great indie romance film that underlines the very importance for subjects to establish inter-subjective (romantic) relationships.
All The Things We Never Said (2020) review [San Diego Asian Film Festival 2020]
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.
Branded To Kill (1967) Review
“A Classic.”
Sakura (2020) review [Japannual 2020]
“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.”
Be My Baby (2013) review
While the narrative has subtle comical flair, “Be My Baby” does not fail to confront the spectator with the two most important obstacles to romantic happiness: the refusal to take one’s own and the other’s subjective position into account and the unquenchable power of sexual desire.
Understanding ‘Cuties’ from a psychoanalytical perspective
“Even though I stated above that Amy’s identification with the hypersexualized image of femininity needs to be understood as a refusal, I think that it is even more correct to understand her behaviour as an acting-out directed to the Islamic Other.”
Short Movie Time: See You on the Other Side (2019) [Japan Cuts 2020]
“A very precise and rather confronting exploration of how, within the sexual act, the male and the female subject never meet each other.”
Makuko (2019) review [Nippon connection online]
“A pleasing exploration of the fear of becoming an sexually desiring adult.”
Hot Gimmick: girl meets boy (2019) review
“A powerful evocation of the importance of assuming one’s own subjective position. ”
Kuma Elohim (2018) review
“A captivating exploration of the conflictual tension between sexual desire, love, and plight.”
Videophobia (2019) review [OAFF 2020]
“A return to form for Daisuke Miyazaki.”
Tezuka’s Barbara (2019) review [CinemAsia Film Festival]
“A moody narrative that beautifully reveals that addictive love, in the end, serves nothing but the egoistic needs of the addicted subject.”
Flowers of Evil (2019) Review
“(The narrative) unearths the struggle that the blossoming of one’s polymorph perverse sexuality can have on one’s process of coming-into-being in a beautiful way.”
psychocinema 