I feel a bit ashamed to say that I can’t remember if I’ve ever seen a film by Takeshi Kitano. I feel that surely I have seen Hana-Bi (1998) or Zatoichi (2003) but from the glimpses in this interesting short documentary by Yves Montmayeur, none really stand out.
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This is a Japanese horror of Ringu (1998) ilk, all about vengeful wraiths and the monstrousness of female emotions.
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Like a Miyazaki story come to life, with cuteness and soundtrack by Spielberg and a cast from a Japanese staging of The Cursed Child. But don’t let that put you off.
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If you are looking for a film that relentlessly depicts the awful hopelessness of war, Edward Berger’s re-adaptation of Erich Remarque’s novel is the one to watch.
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On my forays to Melbourne, I don’t often re-watch a film at the cinema – so many new films, so little time – but Parasite was worth a second go, especially as Cinema Nova was screening a black-and-white version.
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I was reminded of the quiet, rural drama of Dark River (2017) while watching this intense and satisfying dive into fundamentalism. It has some predictable beats but introspective camera work and a strong performance from Alice Englert help it transcend cliches.
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I was a bit trepidatious about seeing Almodóvar’s latest (in 2019 – it’s taken me a while to post this!).
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It seems fitting to catch up on a film missed at MIFF 2019 whilst sequestered to watch MIFF 2020 online. It was a late night find and Jillian Bell’s starring role was a major draw.
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With conductor, Marin Alsop‘s anti-women criticism running around my head and the film’s esoteric trailer looking a tad film school, my expectations were low.
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Low expectations are not a bad thing. I should like Ruben Östlund’s films as they provide an often unflinching look at social and personal failings and walk the fine line between drama and satire.
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