Tokyo Idols (Japan, 2017)
The sun has set over the Tokyo skyline but dark it does not become: illuminating the night are the bright lights of the city’s hallucinatory...
Guangzhou Dream Factory (USA, 2017)
When documentarian and social commentator Christiane Badgley went to try to replace a locally-made kitchen knife she has bought in Ghana, she found something surprising....
Interview with Daisuke Miyazaki [OAFF 2018]
Daisuke Miyazaki was born in 1980 in Yokohama, Kanagawa. A passion for analysing films turned into a career when he started making them while studying...
Last Harvest (Canada, 2014), or before and after the deluge
In Tutai, Hubei Province (central China), elderly farmers Xu Xinsheng and Zhou Guangxiu have roughly a fortnight ahead of them before their relocation to a...
By the Time it Gets Dark (Thailand, 2016): Prolegomena to Any Future (Anti)Historical Film
If there is one thing upsetting about Anocha Suwichakornpong’s second film By the Time it Gets Dark (2016), it is its refusal to directly engage...
Blind Way (China, 2018)
More than ten years after his controversial features Blind Shaft (2003) and Blind Mountain (2007), Li Yang returns with Blind Way, the final chapter of...
Interview with Moët Hayami [OAFF 2018]
Moët Hayami is an indie filmmaker who was born in Shiga Prefecture. She began her career by graduating from Ritsumeikan University’s visual department and Waseda...
Everybody’s Fine (China, 2016)
“Keeping a dog is like raising a child. Together, bored. Parted, missing.” The words of the widower, Guan Zhiguo (Zhang Guoli), the character at the...
Vampire Clay (Japan, 2017)
Following his contribution to the horror anthology The ABCs of Death 2 (2014), make-up artist turned director Soichi Umezama stretches his schlocky sensibility to feature...
Never Not Love You (Philippines, 2018): Love in the Spirit of Capitalism
Antoinette Jadaone’s romantic drama Never Not Love You (2018) has a title that sparks theoretical interest. If Proust’s madeleine cake brings us to his hometown...