With the year of 2017 coming to an end, it is time for Psycho-cinematography to finally look back on what has become a pleasant and surprising year of Japanese cinema. While the commercial industry churned out the usual melodrama’s and beloved manga/anime were turned into live-action movies, the Japanese indie scene also proved to be alive and kicking.
“As limbs get scattered and blood flows, one comes to realize that there might be only one Japanese director who can compose these massacres with such stylish precision.”
Six years after the melodramatic and narratively layered Hara-kiri: death of a Samurai (2011) and seven after the epic universally acclaimed remake 13 Assassins (2010), Takashi Miike finally returns to the samurai genre with Blade of The Immortal.
“Dark side of the light provides a very tangible framing of (…) [the] disturbing irrationality [of abuse] and the denial of justice this irrationality introduces. This is Sakamaki’s greatest triumph.”
While Sakamaki Ryota has already been active as a director from 2001, he has always stayed under the radar domestically as well as internationally. But that might change with Dark side of the light, his most recent cinematographical product which won two awards, best Horror Feature Film and best actress, at the Tabloid Witch Awards.