Japan
Any chance I get to live vicariously through someone else’s experience in Japan, I’ll take…
Here’s an ice-cold take: movies nowadays are too damn long. Obviously, this is all relative;…
At its best River uses the broad ensemble comedy of Japan in ways that evoke the best ensemble pieces like Noises Off or Christopher Guest’s work.
Bye Bye Love stands on its own as one of the most vibrant and energetic films of the Japanese New Wave.
Sunny had a striking opportunity to tackle a growing reality, but it only gets part of the way there before reverting to genre mechanisms.
Shinji Somai’s magnificent 1993 coming-of-age film, Moving—now available in a new 4K restoration from Cinema Guild—can be interpreted in several ways.
From this year’s New York Asian Film Festival we take a look at Pattaya Heat, Twilight of the Warriors: Walled In & Brush of the God!
One of the most painfully lovely films of last year, Monster is a moving reminder of the importance of empathy and understanding.
The film is both historical and deeply personal in a way that will resonate with those who have been through similar experiences.
A prime example of what political cinema should be, Eros + Massacre is an intriguing and challenging work from one of Japanese’s singular talents.
Audition is a slow burner of a horror, an almost perfect example of a frog in boiling water.
Two of the world’s most acclaimed filmmakers, Ryusuke Hamaguchi and Wim Wenders, screened their new films that at this year’s New York Film Festival.
Tokyo Cowboy is a bit shaggy in places, but we stick around for the character moments because they feel mostly benevolent and genuine.
The Boy and the Heron is a dark, dreamlike vision of life, death, and creation as seen through the eyes of a magical cinematic storyteller.