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.
Category: Youth
Gushing Prayer: A 15-Year-Old Prostitute (1971) review
“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.”
Mother (2020) review
In a languid but highly transparent way, Ohmori confronts the spectator with the subjective and interpersonal ravage the insatiable desire for love and the need for a proof of the other’s love eventually causes.
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.”
Take Over Zone (2019) [Camera Japan 2020]
While Yamasaki’s message is clear, the delivery of his positive message of empowerment would have more gripping and emotionally powerful for the spectator if the sound-design were on point.
To The North (2020) review [JFFH 2020]
A feel-good movie full of genuine emotions and satisfying romantic moments that also succeeds in delivering an important message to young adults.
Kakegurui (2019) review [Fantasia 2020]
“A narrative that will not only please long-time fans of the series, but also convert many newcomers into kakegurui’s enthusiasts.”
F is For Future (2019) review [Nippon Connection Online]
“An impressive debut by Teppei Isobe.”
12 Suicidal Teens (2019) review
‘A rather forgettable experience.’
Short Movie Time: She’s Gone (2018)
“With this short narrative, Sara Ogawa proves that she’s an extremely talented director.”
Hot Gimmick: girl meets boy (2019) review
“A powerful evocation of the importance of assuming one’s own subjective position. ”
On the Edge of Their Seats (2020) [OAFF 2020]
‘One of the most powerful narratives concerning desire to date.’
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.”
Saimon and Tada Takashi (2018) Review [Japannual 2019]
“While Oda show promise as a director, his debut-narrative reveals that he has yet to find his own distinctive voice.”
And Your Bird Can Sing (2018) review
“By rendering the subjectivity of his protagonists as opaque as possible to the spectator, Miyake is able to successfully highlight the difficulties of realizing a subjective position.”
