“Another masterpiece of Shunji Iwai (…) revealing how the reliance and the importance on the imaginary deconstructs genuine human connection but also forms the necessity to be able to form any social bond whatsoever.”
Shunji Iwai is nothing other than a legendary director. Having made narratives like Love Letter (1995) and All About Lily Chou-Chou (2001), he has made a name for himself as a director that investigates how subjects, who find themselves seemingly cut off from society and the social bond, still find a way, even if understanding each other is difficult or near impossible, to find a place in society.
“The light shines only there shows powerfully the difficulty as well as the power that is to be found in human relations and underlines, that, in fact, the light shines only there”
Despite having only directed four cinematographical products – Sakai-ke no shiawase (2006) being her first, and a segment in Quirky Guys and Gals(2011), The Light Shines Only There (2014), her third full-length feature, cemented Mipo O’s reputation as one of the most promising directors in Japan. Reason enough for Psycho-cinematography to review this narrative closely from a psychoanalytic perspective and see whether The Light Shines Only There (2014) truly deserves all the recognition it has received.