10. The First Slam Dunk by Takehiko Inoue
“The First Slam Dunk” is a very entertaining movie that will appeal particularly to fans of sports anime and of the particular series, while there are elements that will also touch a different audience, in an overall excellent title. (Panos Kotzathanasis)
9. Godzilla Minus One by Takashi Yamazaki
“Godzilla Minus One” is a great film, providing entertainment and themes that engross viewers further into the experience. Yamazaki gives audiences plenty of spectacular monster action and simultaneously engages them with a humanistic story containing a powerful anti-war message that addresses the horrors of nuclear weaponry and promotes the idea of individuals supporting each other through dark times. The mesmerizing reimagining of Godzilla will satisfy long-time fans and newcomers. (Sean Barry)
8. Alien's Daydream by Yoshiki Matsumoto
Yoshiki Matsumoto creates a pastiche of different cinematic and narrative elements, in an approach that is as chaotic as it is intricate and intriguing. The narrative is dominated by a sense of mystery and disorientation, through a number of secrets that are revealed, each of which both result in a new revelation and a new perspective of the story, but also create more questions. This labyrinthine approach, although occasionally confusing and definitely including some elements that could be deemed unnecessary, actually works quite well in terms of entertainment, essentially carrying the movie from beginning to end of its 99 minutes. The fact that Matsumoto presents the story through an approach that combines elements of documentary, news strip, sci-fi, thriller, horror and family drama also works in the same path, in the second most impressive trait of his direction. (Panos Kotzathanasis)
7. Evil Does Not Exist by Ryusuke Hamaguchi (Japan)
Overall, the acting and directorial style are characterized by their simplicity, lacking in sophistication and intricacy. The true strength of this film, however, resides in its soundtrack, composed by the talented musician Eiko Ishibashi, who previously contributed to the score of “Drive My Car”. It is crucial to consider that “Evil Does Not Exist” originated as a musical project before evolving into an actual film. In fact, Ishibashi initially requested Hamaguchi to create visual imagery for her pre-existing musical compositions, subsequently developing a feature-length film together. The skilled composer crafts dramatic and often unsettling soundscapes, undeniably elevating the modest visual aesthetics of the sequences. (Siria Falleroni)
6. River by Junta Yamaguchi
“River” is a film that shows that creativity can be accomplished on a low budget. There are commendable filmmaking efforts paired with excellent writing. The concept of people trapped in a two-minute time loop is creative. It makes for an entertaining experience to see these characters handle it while communicating with one another, along with funny humor. With each reset, the situation becomes far more drastic as it takes a toll on the folks affected, which does help add stakes and intensity to the story. It helps that sci-fi elements are creatively done through filmmaking techniques with precise editing and cinematography. (Sean Barry)
5. Perfect Days by Wim Wenders
“Perfect Days” is a one-man-show of Koji Yakusho, and the movie's success is largely dependent on the incredible quality, range, depth and charisma of one of Japan's most renowned and most accomplished actors. We get to follow his Hirayama through his most normal days, mostly wordlessly. Hirayama gets up early, puts on his uniform, gets into his car, puts on another cassette tape with some American classics, and goes to work. His job is cleaning public toilets around Shibuya. The old man is good at his job – gets right to the point, does it quickly and precisely, and seems to be calmly satisfied with just doing his thing well. He is professional about what he has to do, but also takes time to smell the flowers. During the breaks, he sits in a park or walks around, watching the life of Tokyo around him and just enjoying how great the city is, and how great it is to live in this world overall, with moments of human and natural beauty all around you. Some stories happen, with strangers and relatives, although the movie has no real main arc – for the whole time, it remains a series of episodes, with only single suggestions appearing about Hirayama's past, his life situation, and really about the message of the whole thing. The personal moments of the story and the ending remain undeclared, with each viewer free to come up with their own summary and interpretation. (Paweł Mizgalewicz)
4. Burden of the Past by Atsushi Funahashi
“Burden of the Past” is an excellent movie that manages to avoid the reef of the melodrama by including intense documentary elements, with Funahashi showing that his “one-man-show” is getting better and better with every effort. (Panos Kotzathanasis)
3. Amiko by Yusuke Morii
Coming-of-age dramas often focus on challenges that affect us all and how they can be overcome. But Yusuke Morii's “Amiko” focuses very much on a child that isn't like anyone else, and as such, those around her don't know how to deal with her, as a story of a unique life sees a unique comedy in a strong directorial debut. (Andrew Thayne)
2. Monster by Hirokazu Koreeda
Heartbreaking yet also beautiful, “Monster” is a wonderful film. Hirokazu Koreeda elegantly weaves together an emotionally overwhelming and subtly executed narrative. A compelling mystery is established and, through terrific storytelling, gradually reveals its truths through the various perspectives of the characters and proceeds to further immerse with its thought-provoking themes and compassionate handling of its subject matter. Even after its revelations come to light, audiences will remain entranced by the feature's numerous layers of depth. (Sean Barry)
1. The Boy and the Heron by Hayao Miyazaki
All in all then, “The Boy and the Heron” can be read as largely self-indulgent. With painstaking detail dedicated to each frame and a soaring score (as always) from the ever-reliable Joe Hisaishi, “The Boy and the Heron” is an aesthetically pleasurable film to watch. In a way, it feels as if this film also marks Miyazaki's final send-off. As the octogenarian director reminisces over what he has lived through and what he has done, it seems – with Mahito's final emergence from the sewer-hole – that Miyazaki is clearing room for the animation world anew. If this does end up being his last film – and touch wood if so! – then “The Boy and the Heron” marks a masterful capstone to his career. (Grace Han)
