Ningen
NINGEN delights in a type of storytelling so refreshing in its refusal to be defined by simple morals, neat endings and tied up plots, writes Sarah Dillon.
NINGEN delights in a type of storytelling so refreshing in its refusal to be defined by simple morals, neat endings and tied up plots, writes Sarah Dillon.
Ten reasons why Rosy loves GODZILLA.
GODZILLA is back: Gareth Edwards’ revival of the legendary beast is chock full of awe, but the human drama is sadly lacking, writes Gavin Midgley.
Hayao Miyazaki’s final film is an ode to the power of dreams that charms from beginning to end, writes Gavin Midgley.
After a shaky start, THE RAILWAY MAN emerges as a modestly moving portrayal of trauma and unlikely reconciliation, writes Gavin Midgley.
From horror, comedy, thrillers and animation to period films and docudramas, ONCE UPON A TIME IN JAPAN demonstrates the richness, the diversity and the relevance of a contemporary Japanese cinema that is vastly under-represented on the international film circuit.
KAIDAN puts a reflective spin on the traditional ghost story by engaging writers and film directors unfamiliar to the genre.
Masaaki Akahori’s debut film brings a novel approach to the samurai subgenre, playing out the story of good versus evil a peculiar and introspective level, writes Ed Frost at the BFI London Film Festival.