by Palomo Lin-Linares
How does one categorize the films of Nagisa Oshima? Even among his brethren new wave directors, he stands as an auteur independent of any particular movement. “Japanese Summer: Double Suicide,” in all its absurdism, provocation, and politically charged imagery, is a perfect example of Oshima's non-conformist method of expression.
on Amazon by clicking on the image below
The film opens with a series of left hook vignettes, connected by cultural imagery which serve as an introduction to the film's language and style. Nejiko, a young sexually obsessed woman (Keiko Sakurai) meets Otoko, a man obsessed with death (Kei Sato). This pseudo romance is interrupted when the couple are taken prisoner by mysterious gangsters and placed in a hideaway. Here they meet the rest of the movie's characters that are composed of equally obsessed oddballs: a television loving fascist, a trigger happy kid, an anarchist,...
How does one categorize the films of Nagisa Oshima? Even among his brethren new wave directors, he stands as an auteur independent of any particular movement. “Japanese Summer: Double Suicide,” in all its absurdism, provocation, and politically charged imagery, is a perfect example of Oshima's non-conformist method of expression.
on Amazon by clicking on the image below
The film opens with a series of left hook vignettes, connected by cultural imagery which serve as an introduction to the film's language and style. Nejiko, a young sexually obsessed woman (Keiko Sakurai) meets Otoko, a man obsessed with death (Kei Sato). This pseudo romance is interrupted when the couple are taken prisoner by mysterious gangsters and placed in a hideaway. Here they meet the rest of the movie's characters that are composed of equally obsessed oddballs: a television loving fascist, a trigger happy kid, an anarchist,...
- 5/21/2023
- by Guest Writer
- AsianMoviePulse
There’s a new, more contagious form of the novel-coronavirus. It’s got a greater ability to evade our antibodies. And it’s spreading easier than ever.
You’ve read these words before, and you’ll almost certainly read them again as the Covid pandemic grinds into its fourth calendar year. But pay attention, because there’s something new about Xbb.1.5, also known as Kraken, the latest Omicron subvariant that’s quickly becoming the dominant form of Sars-CoV-2 across much of the world. Xbb.1.5 evolved after a couple of big genetic twists and turns.
You’ve read these words before, and you’ll almost certainly read them again as the Covid pandemic grinds into its fourth calendar year. But pay attention, because there’s something new about Xbb.1.5, also known as Kraken, the latest Omicron subvariant that’s quickly becoming the dominant form of Sars-CoV-2 across much of the world. Xbb.1.5 evolved after a couple of big genetic twists and turns.
- 1/16/2023
- by David Axe
- Rollingstone.com
Chicago – Halloween just isn’t the same without an Onryō. Thanks to America’s tireless remakes of Japanese horror films, the materialization of Onryōs in pop culture has become as much of a seasonal tradition as witches and goblins. They’re often characterized by long black hair, white robes, bodily contortions, tragic backstories and an unquenchable thirst for vengeance beyond the grave.
In short, Onryōs unnervingly embody the old adage that “Hell hath no fury like a woman scorned…even a dead one.” It’s easy to see how spine-tingling modern classics like “Ringu” and “Ju-on: The Grudge” followed in the ghostly footsteps of Kaneto Shindô’s overlooked 1968 masterwork, “Kuroneko” (“Black Cat”). Though the film is more hypnotic than scary, it still manages to creep under the skin as it spins a tale of real emotional and erotic power.
Blu-Ray Rating: 5.0/5.0
As in Shindô’s better-known 1964 classic, “Onibaba,” this film...
In short, Onryōs unnervingly embody the old adage that “Hell hath no fury like a woman scorned…even a dead one.” It’s easy to see how spine-tingling modern classics like “Ringu” and “Ju-on: The Grudge” followed in the ghostly footsteps of Kaneto Shindô’s overlooked 1968 masterwork, “Kuroneko” (“Black Cat”). Though the film is more hypnotic than scary, it still manages to creep under the skin as it spins a tale of real emotional and erotic power.
Blu-Ray Rating: 5.0/5.0
As in Shindô’s better-known 1964 classic, “Onibaba,” this film...
- 10/25/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
When watching the opening scene of Onibaba, Kaneto Shindo's “almost” horror and visceral fable on jealousy and death, we are introduced to the hole. A gaping natural well amongst a field of tall susuki grass in rural 14th century Japan. It's an ominous and a masterful set up of the mystery to come and, right before the drums and horns of Hikaru Hayashi Taiko drum soundtrack blow you into another dimension, it is both unsettling and beautiful. An unnamed woman and her daughter-in-law are surviving in a small cabin within the grass by hunting cowardly shogun who have fled the front-line of an unseen war. The pair sell the weapons and armor of the murdered to a local lecherous tradesman and dump the bodies down the dark hole in the grass as they await the return of their only son/husband from the battlefield. Their life's everyday moments pivot on...
- 7/2/2009
- by Neil Innes
- t5m.com
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