“As blood splatters around and flying limbs are flying too, the narrative etches an unsettling and claustrophobic encounter with the demise of humanity.”
Shin’ya Tsukamoto, who directed narratives like the cyberpunk horror narrative Tetsuo: the iron man (1989), Bullet Ballet (1998) and the surreal erotic-thriller A Snake of June (2002), is nothing else than a cult director. Well-known for this explicit depictions of violence – depictions aiming to reveal the violence and erotic feelings inherent to the subject, Tsukamoto decided to use the depictions of violence in Fires on The Plain for a different purpose: to reveal the horror of the war.
” [The]subtle blend of (…) emotional layers, (…) evoke[s] the difficulties a subject can have in finding a place to call home, implicitly implying that a sense of belonging is only to be found in a place conditioned by one or more meaningful human relations as such.“
It was only after Adam Torel of Third Window Films, one of the main programmers at the Raindance Film Festival, decided to distribute Greatful Dead (2014) [Our review can be read here), that Eiji Uchida approached him with the idea of creating Lowlife Love (2016), a narrative about a muddling indie-filmmaker who one day meets a promising actress and a guy with a interesting screenplay.