Japan
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.
With a simple premise but endless complexity, Monster sees Hirokazu Kore-eda’s compassion and empathy presented at such a masterful level.
While Perfect Days is minimalistic and quiet, almost to a fault, Les Indésirables is a bombastic cinematic experience.
Both P.P. Rider and Typhoon Club showcase many aspects of Somai’s signature style, Lee Jutton takes a look at both.
Few filmmakers can say they’ve made a movie as fun, free, and ultimately bittersweet as Tokyo Pop.