Category: Violence

Samurai Fury (2025) review

Yu Irie delivers a samurai narrative that, while not able to match the masterpieces of the genre, offers everything fans have come to expect from the genre.

Blazing Fists (2025) review

Miike delivers a drama of hope, a narrative that shows, in a satisfying manner, that a subject can materialize himelf within in the ring and by punching and kicking the demeaning discourses concerning criminality within the Japanese Other into shreds.  

Dollhouse (2025) review

Yaguchi’s horror will please audiences new to the J-horror genre as well as long-time fans of the genre.

Lumberjack the Monster (2023) review

A great example of a filmic experience that is helmed by a director that is uninvested in the material and, consequently, merely does his bare minimum

Golden Kamuy (2024) review

Shigeaki Kubo reaffirms that he has the skill and talent to bring action-driven narratives to life in a satisfactorily way.

Cloud (2024) review

Kurosawa delivers a biting critique of way capitalism and consumerism has transformed our subjectivity and the way we interact with others.

Teki Cometh (2024) review [Camera Japan Festival]

A vivid and mesmerising experience that does not only illustrates the subjective impact of increased isolation on giving meaning to one’s own life – on the stability of the frame of one’s ego.

Evil Does not Exist (2023) review

Ryusuke Hamaguchi offers a highly meditative exploration of the position of violence within the natural Real and the human symbolic, the realm of speech.

Red Peony Gambler: Gambler’s Obligation (1969)

What invites us to qualify Suzuki’s narrative as a classic is not simply his continuation of Yamashita’s visual adoration of Junko Fuji, but his effective transformation of the Ninkyo thread into an exploration of the transgressive nature of desire as such.