Interview: Daniel Kasman | Video: Kurt WalkerDistinctly anomalous in the competition of the Cannes Film Festival this year was Ryusuke Hamaguchi’s Asako I & II: in the red carpet sheen of that gala world, its modest production and unshowy demeanor suggested a more appropriate venue in the city might be the Directors’ Fortnight, where the pretense towards grandiosity is less a requirement and subtlety is given the patience to be discovered. Hamaguchi’s film, the director’s follow-up to the much acclaimed but still little seen Happy Hour (2015), feels distinctly independent and off-kilter, made in a world alternative to the festival’s Japanese arthouse staple, Hirokazu Kore-eda, whose new film Shoplifters premiered the same day in the same section and went on to win the Palme d'Or. Kore-eda’s textures of warm colorwork and values of gentle humanism stalwart against sinister social contexts seemed more appropriate to what Cannes desires to...
- 5/24/2018
- MUBI
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