An amazing blend of arthouse minimalism and weird deadpan comedy.
A Far Shore (2022) review
A highly engaging story that explores the destructive effects of a societal field that fails to reach out to subjects-in-need.
Pure Japanese (2022) review
Matsunaga’s narrative lacks the glue that would put all the parts fluidly together and create a truly impactful action experience.
Violent Streets (1974)
A nihilistic and violent yakuza classic.
Village (2023) review
An incredibly powerful drama narrative that illustrates how toxic and destructive a societal environment can be for the subject – the persecutory dimension of the Other – and how reparative ‘inter-subjective’ signifiers can be.
Sadako DX (2022) review
“A failed re-imagining of a classic horror-story.”
Call Me Chihiro (2023) review
What makes Imaizumi’s narrative a pleasant and such an emotional watch is the fine balance he found between waves of light-heartedness and the forlorn aftertaste that remains after bonds unravel.
Roleless (2022) review [Japannual 2023]
Masahiko Sato, Yutarō Seki and Kentarō Hirase offer the spectator a revealing glance at the dynamic that underpins the dissociative fugue.
Halloween movie special: Summer Of Demon (1981) review
Despite some nice visual compositions and some great performances, Ninagawa’s composition ultimately deflates the drama, leaving this adaptation unable to touch the spectator.
Halloween Special Review: Shinshaku Yotsuya Kaidan part 1 & part 2 (1949) review
Kinoshita offers an incredibly engaging psychological exploration of Iemon’s faltering ego and the dramatic shift this faltering causes in his relationship to Oiwa.
Halloween Special Review: The Ghost of Yotsuya (1959) review
Nakagawa succeeds in delivering an unforgettable finale that, due to its hallucinatory feel, mesmerises the spectator with its haunting imagery.
Halloween Special Review: The Ghosts of Yotsuya (1956) review
An incredible horror film that retains its power to engage and thrill the spectator due to Tomisabura Wakayama’s outstanding performance.
Okiku and the World (2023) review [Japannual 2023]
Introduction Junji Sakamoto (Another World (2019), I Never Shot Anyone (2020), My Brother, The Android and Me (2022)) might not be as well-known by international audiences as other directors, but he has proved himself to be an incredible talent in Japan that deserves recognition for his often unique but always well-crafted narratives. Luckily, in recent…
The Cinderella Addiction (2021) review
“A highly enjoyable narrative that explores the opposition between indulging into fantasies and the developing of inter-subjective bonds.”
Ice Cream Fever (2023) review [Japannual 2023]
A gorgeous stylish exploration of the subjective struggles and the solutions subjects invent within the field of love and desire.
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