I log films on here after watching them.
Sometimes I write shit about them.
Shuichi always manages to instill an all-embracing sense of warmth in his works, even when the subject matter gravitates towards the pensive. This film is basically an onslaught of wistfulness where the main character basks in the past instead of dealing with an isolating present. However, she takes this predicament in agreeable strides. Instead of being a bleak depiction of her exile from the modern world, it's a pleasant acceptance of fate. This is portrayed by her alter egos, which…
Pretty similar to some of Sion's early works, particularly A Man's Flower Road. Most of this film consists of the "trash of society" roaming through urban streets as an entangled mass of indulgent depravity. In his role, Sion mainly just yells about recycling through a loudspeaker.
It's incomprehensible, chaotic, and often intolerable. Those seeking this film out probably know what to expect, so none of this is too revealing.
This is primarily a welcome excuse for Mayu Matsuoka to emanate the most charm possible, which works exceedingly well. It's been pointed out that the story isn't the most original. A young woman cannot let go of a past crush while a new suitor in her life waits for his moment to shine. The synopsis sounds incredibly overdone and more akin to the fluff that Takahiro Miki churns out nowadays.
However, Tremble All You want excels for a number of…
The mesmerizing music and stunning visuals make All About Lily Chou-Chou one of the most powerful viewing experiences in all its unbridled melancholy. This sentiment is only intensified upon repeat viewings once you become more immersed in the story's unconventional structure. There are sequences where one cannot help but feel deeply involved in the characters' emotional turmoil as they confront the unbelievably cruel world that surrounds them.
At first, Iwai's narrative can feel too aimless and meandering (hence why a…