Devoid of the folklore and much of the fantasia of Miyazaki’s more outwardly visionary work, the film nevertheless endures as his most beloved film.
Considering the genre’s proliferation across various mediums over the last few years, it’s perhaps appropriate that Jim Jarmusch would now indulge the impulse to direct a vampire movie.
Farhadi utilizes living quarters as an area of adversity rather than comfort.
From the opening moments of Jia’s film, something strange is afoot.
One of the best and most under-seen American indies of the last few years arrives in an impressive package from Music Box Films.
These early films point toward the nascent Japanese New Wave which would stake an even more unruly stance at the dawn of the ‘60s.
One of Hong’s most effortless triumphs, a primary-colored comedy which nonchalantly dispenses hard truths, uncomfortable revelations, and spontaneous laughs.
As in much of Luis Buñuel’s preceding work, the film’s ingredients don’t immediately appear compatible.
At once stylistically theatrical and emotionally authentic, and an artistic artifact worthy of being passed down to future generations of cinephiles.
The decade extending from the mid-‘60s onward was, in general, one of transition for a Japanese film industry concluding its golden age.