Japan
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.
In this report from NYAFF, Lee Jutton takes a look at Mountain Onion, Nomad and Mountain Woman!
The NY Asian Film Festival provides movie lovers in the tri-state area with a great opportunity to see films across a wide range of genres.
Street Fighter reminds us that even a bad movie can be loads of fun and make you feel like a little kid again.
Although it fits squarely into his oeuvre following another plucky heroine coming of age in Japan, it has some very meaningful inspiration.