5. Tezuka's Barbara (Macoto Tezka)
Evidently, “Barbara” is not a film addressed to those obsessed with context, real stories, etc. However, cinema can also work on other levels that focus on aesthetics, visuals and style, and that is exactly where Macoto Tezka's film thrives. Just allow your brain to shut down and simply enjoy the image. (Panos Kotzathanasis)
4. The Chaplain (Dai Sako)
Probably the most interesting topic comes from the contradiction deriving from the teachings of Christianity and the concept of death penalty, which is the main element that makes Saeki question his religion and the audience the necessity of such a punishment. Furthermore, and particularly through the interactions with Takamiya, Sako presents a plethora of thought-provoking criticisms regarding the practices of the Japanese government through the years, in a rather pointy series of remarks. This part is probably the most interesting in the film, although I found that the most captivating performances, apart from Osugi's, come from Kanji Furutachi as Suzuki and Noboru Ogawa as Ogawa, in rather dramatic fashion. (Panos Kotzathanasis)
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3. First Love (Takashi Miike)
Miike's latest noir, gangland thriller “First Love” is undoubtedly a crowd-pleaser and – it must be said – probably will not go down too well with hard-core Miike's fans expecting total insanity. However, it is undeniably rather entertaining and it's worth relaxing, forgetting the educated expectations and enjoying the measure & method in madness that director Miike and regular screenwriter collaborator Masara Nakamura have adopted this time. (Adriana Rosati)
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2. Siblings of the Cape (Shinzo Katayama)
This is not the world Lee Chang-dong painted in “Oasis”, where elements of surrealism and romance toned down the situation. In Katayama's world there is no solace due to love, no hope at all, just a never-ending downward spiral towards inhumanity, for an individual (Yoshio) that seems too far gone to even consider “being saved” or even retaining any kind of dignity. (Panos Kotzathanasis)
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1. Chiwawa (Ken Ninomiya)
The frequently delirious cinematography and coloring, and their combination with the excellent, mostly electronic and pop music give the film a music video essence, that much resembles “Spring Breakers”, with the occasional sensualism also moving towards that direction. The occasional combination of the aforementioned elements with grotesqueness and violence mirrors “Helter Skelter“, while the relationships of many and different young people reminded me of “River's Edge“. The concept of finding out who Chiwawa really was seems much like Koji Yakusho's efforts regarding Nana Komatsu in “World of Kanako“. Lastly, Chiaki Kuriyama's presence as the journalist seems like a nudge to “Kill Bill” ( I may overextend a bit at this point). Add to all these the presence of Tadanobu Asano as Sakata, a photographer who becomes involved with Chiwawa, and you have a film that seems to function as a tribute to contemporary Japanese cinema (to say the least), and can be appreciated for this fact alone. (Panos Kotzathanasis)
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