With exceptional frankness, director Mishima presented “Voice” to the public of Udine Far East Film Festival, revealing that the film – that she wrote as well – is inspired at large, by her own trauma of being sexually abused at the age of 6. Said frankness is something that comes undoubtedly from a long and painful path of recovery and the director has challenged herself navigating self-worth and guilt in her latest work.
Voice is screening at Udine Far East Film Festival
The film is in omnibus format, composed by three episodes of different style and far apart location, and a bridging conclusion. In the first episode, in a stylish house near lake Toya, in the North of Japan, a woman, Maki (Maki Carrousel) is preparing Osechi, a traditional New Year's feast that contains several dishes, all highly symbolic of good fortune, safety, good health and longevity. In doing so she follows the...
Voice is screening at Udine Far East Film Festival
The film is in omnibus format, composed by three episodes of different style and far apart location, and a bridging conclusion. In the first episode, in a stylish house near lake Toya, in the North of Japan, a woman, Maki (Maki Carrousel) is preparing Osechi, a traditional New Year's feast that contains several dishes, all highly symbolic of good fortune, safety, good health and longevity. In doing so she follows the...
- 4/27/2024
- by Adriana Rosati
- AsianMoviePulse
Tsugaru city has been the subject of a number of films throughout the years, with one of the first being Atg’s “Tsugaru Folk Song” exactly 50 years ago. Now, a new movie focuses on another aspect of the area that stands out, the lacquerware industry, once more, though, in order to make a number of social comments about life in the area and how difficult it can be escaping tradition. The movie is based on the novel “Japan Dignity” by Miyuki Takamori.
Tsugaru Lacquer Girl is screening at Camera Japan
Traditional lacquerwork kitchenware is the Aoki family’s legacy, but is also in decline, with the financial prowess of Seishiro’s father being nowhere to be found at the time the movie starts. Seishiro, however, knows nothing else to do, and so he keeps at it, with the help of his daughter, Miyako, who also works at a supermarket in...
Tsugaru Lacquer Girl is screening at Camera Japan
Traditional lacquerwork kitchenware is the Aoki family’s legacy, but is also in decline, with the financial prowess of Seishiro’s father being nowhere to be found at the time the movie starts. Seishiro, however, knows nothing else to do, and so he keeps at it, with the help of his daughter, Miyako, who also works at a supermarket in...
- 9/29/2023
- by Panos Kotzathanasis
- AsianMoviePulse
Central to any spy story worth its salt is the tension built around whom the audience should believe. But the memorable ones make just as powerful the theme of what the characters really do believe — as in, why they do what they do, whether they’re handler, agent, target or pawn. And to make matters even more fascinating, when some of those questions are left unanswered, that’s when some spy yarns achieve something profound about the battlefield on which they’re played.
Kiyoshi Kurosawa is one of Japan’s established masters when it comes to a knotty premise wracked with tension and secrets, whether working in horror or contemporary drama (“Tokyo Sonata”). It seems fitting, then, that for his first period film, he’d choose a World War II–era espionage tale, where identity and motive are always in play, and horror is real. The result is “Wife of a Spy,...
Kiyoshi Kurosawa is one of Japan’s established masters when it comes to a knotty premise wracked with tension and secrets, whether working in horror or contemporary drama (“Tokyo Sonata”). It seems fitting, then, that for his first period film, he’d choose a World War II–era espionage tale, where identity and motive are always in play, and horror is real. The result is “Wife of a Spy,...
- 9/16/2021
- by Robert Abele
- The Wrap
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