ほかげ
Shinya Tsukamoto's film attempts to explore hope and sorrow in post-war Japan, with mixed results. To make Shadow of Fire, Shinya Tsukamoto stitched together two films. As a result, it proves both unpredictable and unable to satisfyingly hit the tragic and devastating notes it aims for. Recently, Tsukamoto has turned his attention away from the subversive and pulpy shock-oriented cinema that made him a cult figure among cinephiles. Instead, he’s pursued more soulful lamentations on the state and history of Japan. In particular, he seems preoccupied with stories about those who experience an aching sense of trauma following encounters with crushing violence. Continue Reading →