Teruo Ishii is unable to deliver what made the first film so enjoyable: the visual celebration of Ocho Inoshika’s phallic fury.
A highly relevant narrative that succeeds in underlining the importance of fighting against a-moral system of media manipulation.
“An amazing exploration of the clash between a sweet youthful romantic desire and the bitter urge of a wounded subject to defend his subjective wounds.”
A short experiment that succeeds in engaging the spectator and keep him on the edge of his seat until the very end.
“Gokan expertly reveals the position of the freeter as an attempt to escape the capitalistic machinery but also as a position that most easily falls prey to the ugliest structures of exploitation to keep the profit-focused system going.”
A great film that shows that the madness of the male subject is often function of a woman, of a woman that unknowingly puts the by a man assumed phallic position of being desired radically into question.
Imamura’s ‘Black Rain’ is, without a doubt, one of the most important films about the atomic bomb ever made and should be mandatory viewing for anyone who holds the promise of world peace dear.
An impressive narrative that, due to its short runtime, leaves the spectator wanting more.
A great and visually pleasing narrative about the socially embedded nature of the process of coming-into-being-as-subject.
Gamera 3: Revenge of Iris is, without a doubt, the best film of the Heisei Gamera trilogy.
A great sequel that delivers everything what Kajju fans desire, but in a less thrilling manner than the first reboot film did.
A successful reboot that succeeds in honouring Gamera’s classic past, while also evolving this iconic Kaiju in a meaningful way.
“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 charming exploration about the way in which the other allows a drifting subject to moor his desire and find a direction for his subjectivity within the Other.”
“Nakahama succeeds in delivering his message concerning the human tendency to misrecognize the traumatic pain of others in a fresh and touching manner.”