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.
Tag: Yu Aoi
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.”
