While ‘Family of Strangers’ runs the risk of corroborating prejudices, Hirayama’s narrative also has the potential to make spectators think about the socially embedded nature of mental suffering,
With his artful composing hand, Yoshishige Yoshida paints how a romance unable to transform into an inter-subjective relation of love can impact the subjectivity and illustrate, in a subtle but sensible way, the Freudian truth that every Eros is, in the end, a death drive.
A painful but beautiful narrative about the difficulty to instigate subjective change and the impact such struggle has on relations.
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.
“Mask Ward provides the thrills and the tension and packs enough surprises to engage and, ultimately, satisfy the spectator.”
A fabulous and unique romance horror narrative that uncovers the often-forgotten truth that all speaking beings are driven by a desire to be loved/desire to love.
A beautiful experimental documentary exploring the position of life and death within the Mayan society of the past and the current society.
Shimizu proves with his latest horror-narrative that one does not need to reinvent the genre to be able to deliver a film that satisfies those spectators seeking for thrills and scares.
A confronting narrative that underlines the necessity for male subjects to lay down their eroticizing gaze and meet a woman as a subject, as someone who is driven by unconscious desires and own demands as well as marked by her own failure of understanding herself.
It’s that time of the year again, the time to introduce our top 10 Japanese films of 2020.
Find out which films we selected for our top ten Japanese films of the last decade (and also discover Onderhond’s second opinion).
“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.”
Fukagawa offers an enlightening insight into the problematic position Ainu culture holds within the broader Japanese Other and the subjective problems being born in these two Others can cause.
While Not Quite Dead Yet is about the importance of communication and about assuming a desire as subject, Hamasaki’s narrative delivers its message in manner that is, when all is said and done, not alive enough.
What makes Tanada’s film enjoyable is not its overindulgence in drama, but its refusal to exploit the dramatic turns of the narrative for easy tears.