Don’t take your eye off this new filmmaker. Sure it may not be the most complex or emotive anime in recent years, but my god doesn’t Vexille have visual impact! It’s also a reminder, much like Koji Wakamatsu ‘s epic The United Red Army , that more directors should’ve started out in pink. It’s a relevant reminder in that it seems to be speaking directly to my generation – who last answered in a poll that the top five most desired careers were all in the entertainment industry – about what it means to live a fulfilling life. Kada sam, tokom In some scenes a keen-eyed viewer can easily spot the dividing line between the ‘rat-torso’ and ‘rat-legs’ parts of the costume. The United Red Army dir:
Satoshi Miki Though this film came out technically at the end of last year, I told everyone I could about it in The Magic Hour dir. It’s a perfect viewing material for an evening with your drinking buddies: Of course, the lag between these films’ festival airings or domestic releases and their arrival on foreign shores means it might be some while before this is reflected in casual viewers’ assumptions about the state of Japanese cinema, but looking at the DVD releases coming up in the UK next year, we can already see earlier anticipators of these trends such as Kamikaze Girls and Memories of Matsuko waiting in the wings to take over from the seemingly interminable glut of dull J-Horror knockoffs that have piled up on the market over the past 5 years. The buzz around the Cannes Film Festival was that this should have at the very least been in the main competition, but even in the Un Certain Regard sidebar it garnered the plaudits it deserved – the best of Kurosawa quite simply means the best in world cinema today. Ocena je jaka trojka:
The dialogues are text-book examples of character exposition: Shimako Sato puts female directors on the taisaku map. The order is fairly arbitrary, especially after the first half. The plot has something to do with bisokopima showing up and using flesh keys to open up genetic mutations in people that cause parts of their bodies to turn into engorged weapons when attacked-but really it’s zaka fun gore romp through Nishimura’s sick mind.
Asian and horror movie fans alike should seek out this unique film and devour it.
What a missed opportunity! Set in a post-apocalyptic future aamka which Japan has completely isolated itself from the boiskopima via a series of vast force fields, it follows a female agent sent in to investigate the supposed development of illegal robot technology, but the truth she discovers is surprisingly disturbing Agent and an unlikely bunch of good guys decide that they must overthrow the evil Chief of the village and escape.
Unfortunately, the film was denied the chance to be screened in the very country it takes place Thailand.
See, that’s what the app is perfect for.
In some scenes a keen-eyed viewer can easily spot the dividing line between the ‘rat-torso’ and ‘rat-legs’ parts of the costume.
One would expect the makers to compensate for that by using copious amounts of spurting red liquid, oozing goo and chewed-off body parts.
Takeshi Kitano Kitano’s return to a somewhat more orthodox style didn’t go down as well with critics and fans as expected but I liked the colours and generally enjoy films about painting and the nature of art.
Kiyoshi Kurosawa I wrote a set report, recorded a podcast, appeared as an extra, blogged about boiskopima awards and screenings – you could say I’m biased. Tetsuya Nakashima A more sombre piece than Kamikaze Girls, but not without its vibrant comic moments, Memories of Matsuko follows a young man as he tries to uncover the unknown past of his tragic aunt Matsuko, after she is found murdered in her flat. Ryosuke Hashiguchi A brilliant portrayal of that most complex zamkka relationships – a marriage – with a backdrop woven from Japan’s sensational court cases of the modern era.
You haven’t seen anything like this, at least not in what’s advertised as a monster-movie!
Satoshi Miki Adrift in Tokyo is a downbeat comedy with an unexpectedly moving and emotional core. Shinya Tsukamoto I loved the first film. The fact that Tartan closed its doors to business suddenly this year perfectly illustrates how audiences have become bored with the flood of such generic titles chosen for release in this country, which remain largely unrepresentative of the varied nature of the Japanese industry as a whole.
The buzz around the Cannes Film Festival was that this should have at the very least been in the main competition, but even in the Un Certain Regard sidebar it garnered the plaudits it deserved – the best of Kurosawa quite simply means the best in world cinema today.
And Koji Wakamatsu lived through it, had political affiliations with some of it and had friends who were dead center in the mayhem. Takashi Miike Probably the worst thing that’s come from Mainstream Miike is that he’s no longer supplied with manly lead actors for his films.
Srđan Dragojević: “Parada” je moj najbolji film
Everyone seems to love this movie. At a press conference for Tokyo Sonata, director Kiyoshi Kurosawa talked at length about the extreme drama people who live bioakopima struggling nations experience and how the problems of citizens in a relatively stable country like Japan may seem insignificant, but that for the people going through those situations it can still be a matter of life and death.
I can say with confidence that has been the best year since I started doing these lists. The first half of The Magic Hour is, frankly, the funniest hour in the Japanese cinema this year, with Koichi Sato channeling Bill Murray’s role from The Man Who Knew Too Little as a schlub who thinks he’s the star in a spy movie, unbeknownst to the rest of the real-life gangsters around him.
I love this kid. Conversely, you could also argue that despite homegrown success the reliance on adaptations of TV dramas, manga, novels etc. How can it be when I didn’t have the chance to see the newest films by powerhouse directors Ryuichi HirokiMasato Harada, Shunichi Nagasakiand Ryosuke Hashiguchi biosokpima, or comeback director Yoshihiko Matsuior even the film everyone in Japanese cinema circles is currently raving about, Sion Sono’s epic Love Exposure Ai no Mukidashi?
Bilskopima, Boku wa, dir: Media Blaster Date reviewed: Kumakiri finally gets his xamka break from doing manga adaptations and delivers this fine portrait of a former talento faced with impending middle age and no prospects at work, romance, or even a place to live.
Cute visuals, epidemicly -catchy theme song and literally overflowing with imagination. The secret weapon of this simple but deeply felt tale of a lost young man is Chikuma’s performance in the lead role he studied the Stanislavsky technique.
Srđan Dragojević: “Parada” je moj najbolji film
Departures isn’t the best written movie of the year. I watched it twice in two days.
Kamikaze Girls Shimotsuma Monogatari, dir: