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Sayounara (Japan, 2018) [OAFF 2019]
Naturalistic acting, specifically using pastel colours and lovingly shot images of the sea are what dictate the ebb and flow of the drama in Yuho Ishibashi’s film Sayounara. Originally based on an SNS manga of […]
Vanishing Days (China, 2018)
In both its beginning and closing sections, Vanishing Days has a sideways tracking shot, with the camera passing an apartment window where a red flag is stuck in a glass bottle. Both shots might be […]
Slowly (Japan, 2019) [OAFF 2019]
Momoko Fukuda is a director from Ibaraki City, Osaka Prefecture. She studied at the Japan Institute of the Moving Image and her graduation work Goodbye Mother (2014) was selected for big festivals such as the […]
on Mar, 18
No. 3 (South Korea, 1997)
If one considers the 21st century as the definitive era of modern Korean cinema (aka New Korean Cinema), then the 1990s must serve as a transitional period, a breeding ground for cinematic experimentation that foreshadows […]
on Mar, 17
Triple Threat (China/Thailand/USA, 2019)
A group of mercenaries are sent into an MI6 black site to retrieve a known criminal and terrorist. Channelling the opening jungle raid from Predator (1987), the assault is viciously efficient and brutal, the camp […]
on Mar, 15
Whole (Japan, 2019) [OAFF 2019]
In recent years, the rise of mixed-race Japanese has become a hot topic with “hafu”, a word which is taken from the English word “half”, becoming more visible thanks to sports and entertainment personalities like […]
on Mar, 14
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