A Page of Madness (狂った一頁, 1926) – Dir. Teinosuke Kinugasa
Thought lost for decades, this silent film is a triumph of pure visual storytelling. Rejecting intertitles entirely, it uses frantic editing and expressionistic lighting to create a hypnotic, avant-garde experience. A brilliant achievement that feels incredibly modern and ahead of its time.
https://www.youtube.com/watch?v=inZy5os7Aq4
#SilentFilm #JapaneseCinema #TeinosukeKinugasa #AvantGarde #FilmMastodon #Cinephile
Takashi Miike is one of my favorite masterminds inside the Japanese Cinema.
I should get some movies for my collection in a near future. Audition and One Missed Call are the greatest ones!
MONSTER (KAIBUTSU) 2023
Score: 10/10 Directed by Koreeda Hirokazu and written by Sakamoto Yuji, MONSTER ranks as the best of Koreeda's films thus far. It is a masterclass in the cinema of multiple perspectives. Ando Sakura (SHOPLIFTERS, REBOOTING) plays Saori, a widow who raises her son Minato in a small town in Japan. Her son develops issues that bring her into a collision course with a young teacher, Hori Sensei, played by Nagayama Eita. Ando, as always, embodies her role as a frustrated parent up against […]
CREEPY (KURIPI ITSUWARI NO RINJIN/Creepy Fake Neighbor) 2016
Director Kurosawa Kiroshi has worked in horror for decades, though not exclusively. He directed PULSE and PENANCE (also reviewed here). Based on a novel by Maekawa Yutaka, CREEPY is beautifully photographed by Ashizawa Akiko, with an old fashioned score by Habuka Yuri that is reminiscent of Hollywood’s golden age. The story concerns a sidelined police detective, Takakura (Nishijima Hidetoshi), who finds himself teaching criminology to university students after his failure to contain a […]https://reeljapan.com/2026/05/26/creepy-kuripi-itsuwari-no-rinjin-creepy-fake-neighbor-2016/
Continuing my quest to watch and review my collection of the Criterion Collection.
Here is my review of the Kihachi Okamoto's The Sword of Doom:
https://notesoncinema.com/2026/05/25/280-the-sword-of-doom-dir-kihachi-okamoto/
In Akira (1988), Masaru is physically bound yet mentally sovereign. In Kitano's Dolls (2002), the disabled characters carry a similar stillness — those who care for them seem to need them more.
Both feel rooted in a Japanese philosophy of acceptance: the body as limit, the spirit as free.
Did Kitano draw from Otomo? Or do they simply share the same cultural well?
#Akira #Dolls #JapaneseCinema #Anime #FilmPhilosophy #movie #movies
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