For the hardened fan of the genre, Harada’s newly bottled old wine will be a frustrating experience that delivers nothing more than a sprinkle of excitement.
Good Luck (2025) review [OAFF 2025]
Shin Adachi utilizes the dynamic of the encounter to examine the problem of desiring within the societal field and the way desire give rise to misunderstanding between subjects.
V. Maria (2025) review [OAFF 2025]
The neatly interwoven narrative fabric, which evokes the dimension of loss in various forms, beautifully sketches out the importance for the subject to construct a narrative to support and jump-start one’s coming-into-being.
Mukoku (2017) review
Kumakiri offers a fresh breath in the Japanese sports genre by focusing on trauma, the ill-fitting of the subject within the societal Other, and the importance of forming bonds with the other.
Hana Dama Phantom (2016) review
While all clashing fragments of eroticism, horror, and comedy come sort of together in the twisted finale, it is not enough to wash away the sourness left by the ill-fitting theatrical performances.
The Taste of Tea (2004) review
Katsuhito Ishii’s offers the spectator a satisfying kaleidoscopic exploration of the emotional fabric of life and the importance of familial bonds.
Another Abashiri Prison Story (1965)
An enjoyable thriller – a straight-forward yakuza flick with many pleasant moments, but not the sequel the first narrative deserved.
Small, Slow But Steady (2022) review
An incredibly powerful boxing-narrative elevated by Yukino Kishii’s emotionally powerful perfomance.
Abashiri Prison (1965) review
Teruo Ishii delivers an interesting exploration of the frailty of the social bond between criminals as well as the trauma that, in some cases, animates the criminal reflex.
A Man (2022) review
A compelling and thrilling exploration of the reality of identity fraud and the damaging effect societal discourses can have on a subject and his ego.
In Her Room (2022) review
For those who succeed in looking past the phallus during Ito’s narrative will find a renewed respect of the complexity of the feminine position.
Twilight Cinema Blues (2023) review
While fun to watch, Hideo Jojo’s film is a trick of all trades, but a master of none.
Sin And Evil (2024) review [Japannual 2024]
Saito shows that the Other always bears some responsibility for the subjective outcomes of dysfunctional familial dynamics and the criminal excesses that plague its mendacious image of peaceful harmony.
Short Movie Time: Neu Mirrors (2024) review
Keishi Kondo offers the spectator an unsettling illustration of the Lacanian gaze.
Desert of Namibia (2024) review [Japannual 2024]
Yoko Yamanaka delivers a cinematic masterpiece of subjectivity.
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