“Shiraishi is not only able to confront the spectator with the perverse side-effects of a patriarchal phallic societal Other – i.e. male opportunism, but also reveals, in an extremely moving finale, that even within such problematic Other love remains a possibility.”
Tag: Yu Aoi
They Say Nothing Stays the Same (2019) review [22nd Nippon Connection]
An exquisitely shot meditation about the impact change has on society and subjectivity.
Journey To The Shore (2015) review
“An elegant and touching exploration of arrested mourning, unresolved subjective regrets, and the impact of unfinished business on the deceived or the living subject.”
Rurouni Kenshin: The Final (2021) review
“Ohtomo’s does not only preserve the essence of Watsuki’s narrative but delivers this essence with necessary emotionality and adorns it with many breathtaking sword-fighting moments that neither a manga nor an anime can deliver.”
Wife of A Spy (2020) review
A tremendous achievement [that succeeds in calling] forth orth certain (indigestible) truths concerning the Japanese imperialistic Other.
Romance doll (2020) review [Camera Japan Festival 2020]
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.
Miyamoto (2019) review [Japannual 2020]
“A gripping and surprisingly moving exploration of how one sometimes needs to perform an act in the real in order to be able to reestablish one’s subject in an imaginary position and reaffirm the symbolic inter-subjective commitment one has made.”
Zan/killing (2018) review
“One of the Tsukamoto’s most accomplished narratives.”
Rurouni Kenshin: Kyoto Inferno (2014) review
“Add the Kenshin-tension to the mix and you have a narrative that will keep you on the edge of your seat.”
Tokyo Ghoul (2017) review
“Notwithstanding this flaw, Tokyo Ghoul still remains one of the better high-budget live-action adaptations to appear in recent years. It even serves as a perfect introduction for newcomers to Ishida’s world of ghouls.”
Over The Fence (2016) Review [Camera Japan Festival]
“It is not love-story in the traditional sense of the word, but a wonderful and moving psychological study of the concept of meeting, a sort of meeting that might change each subject involved forever.”
Japanese Girls Never Die (2016) review
While (…) [the] narrative lacks some (…) provocative punch (…) the political protest message (…) is [nevertheless] sincerely felt.
What a Wonderful Family! 2 (2017) Review [Screening at Fantasia Film Festival]
“[An] endearing and heartwarming exploration of the complexity of family relations (…) that shows (…) that happiness is to be found in the very daily problems family life indisputably generates. We’re already hoping for another sequel.”
psycho-cinematography 