Directed by Ryûichi Hiroki | Netflix, 2021 | 142 minutes Reviewed by 佐藤 光 Hikari Sato “A film that asks how far love can stretch before it becomes something unrecognisable — and has the courage not to look away.” I’ll be honest with you — I wasn’t prepared for this one. I sat down expecting […]
Ride or Die (彼女, Kanojo) — Review Read More »
Review Directed by Beto Besant and Mayara Magri, this film unfolds like a quiet piece of choreography—measured, intimate, and emotionally resonant. Rather than relying on a conventional narrative structure, the directors construct a cinematic experience where movement, silence, and physical presence become the primary tools of storytelling. The film opens with Sofia, a middle-aged dance
Ei-yū Tsuā: Ana Sofia- When Dance Becomes a Language of Love and Letting Go Read More »
1. How did you first become involved with Hannah, and what drew you to the story Thomas wanted to tell? Marcio: I met Thomas through other young filmmakers, and when he presented the story to me, I thought it could be told from a different angle, which inspired me to produce this short film. 2.
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Kim Hye-young’s 2025 South Korean romance “Even If This Love Disappears from the World Tonight” adapts Misaki Ichijo’s novel , asking a question that sits at the heart of every love story: what happens when tomorrow erases today? The film centers on Kim Jae-won (Choo Young-woo), a directionless high schooler, and Han Seo-yoon (Shin Si-ah),
1. The title “Diner of Darkness” is wonderfully evocative. Can you walk us through how this concept originated—was it the setting that came first, or Mackie’s Batman-inspired descent into madness? Well a little of both and from frustration of another project slogging in Pre-Production hell. I wanted the team to be busy and have fun
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Living Art: How “Kokuho” Chronicles the Making of a Master The narrative begins in 1964 Nagasaki, where young Kikuo loses his yakuza father and finds refuge in Osaka as an apprentice to Hanjiro, a master kabuki performer played by Ken Watanabe. Lee—whose previous work includes “Hula Girls” and a Japanese remake of “Unforgiven”—structures the film
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There exists a particular kind of cinema that strips away artifice until only raw human anxiety remains. Georgian director Giorgi Markozashvili’s The Burrow is precisely this kind of film—a claustrophobic psychological chamber piece that transforms the witness protection premise into something far more existentially unsettling. The Architecture of Paranoia From the fragmented transcript, one can
ei- yu- tsua: THE BURROW Read More »
James Henry’s defense attorney commands the frame with unsettling confidence, his performance suggesting someone who views facts not as immutable realities but as raw materials to be shaped. Ed Trucco and Michael Sean McGuinness inhabit their detectives with a fatigue that reads as existential—these are men confronting not just a collapsing case, but the fragility
SHADOW DOCKET: A Masterclass in Minimalist Noir Read More »
