Mixing genres through a barely coherent narrative and a visual presentation that borders on the epileptic through its use of intense coloring and frequency of cuts has been one of the traits of contemporary Japanese cinema for many years. This kind of productions usually end up in seemingly silly, but also quite rich in context and entertaining films, that also seem to “loan” from other, older movies. Probably the main representative of the style is Tetsuya Nakashima, but other directors, like Mika Ninagawa, have also adopted the approach, while Obayashi’s last works also moved towards the same direction. Yoshimasha Ishibashi tries his hand in the style.
“Milocrorze: A Love Story” is screening at Fantasia Festival
The story unfolds in four different axes. The first one is set like a children’s movie and revolves around a rather colorful boy (literally) named Ovreneli Vreneligare who eventually meets Milocrorze in a...
“Milocrorze: A Love Story” is screening at Fantasia Festival
The story unfolds in four different axes. The first one is set like a children’s movie and revolves around a rather colorful boy (literally) named Ovreneli Vreneligare who eventually meets Milocrorze in a...
- 8/21/2020
- by Panos Kotzathanasis
- AsianMoviePulse
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