“And while a deeper exploration of Haruka and Shouta’s subjective perspective could have made Sawamura’s quest for redemption even more powerful, Museum does provide the tension, the thrills and the plot twists any great thriller narrative should have.”
If one looks at Keishi Ootomo oeuvre, one concludes that he loves to adapt manga narratives to the silver screen. He already brought the wildly popular manga Rurouni Kenshin to the silver screen – Rurouni Kenshin (2012), Rurouni Kenshin: Kyoto Inferno (2014), and Rurouni Kenshin: The Legend Ends (2014), and has just finished his filmic translation of the manga San gatsu no Lion following the story of a young shogi-player.
“[An] endearing and heartwarming exploration of the complexity of family relations (…) that shows (…) that happiness is to be found in the very daily problems family life indisputably generates. We’re already hoping for another sequel.”
While Yōji Yamada might not ring the same way in the ear as the great powerhouses, e.g. Shohei Imamura, Kon Ichikawa, Akira Kurosawa, …etc., of Japanese cinematography, he should still be considered as a minor monument of Japanese cinema. He is, for instance, the director of the legendary and highly entertaining Otoko wa Tsurai yo comedy series (general note 1), which follows the adventures of Tora-san and his endless quests to win a woman’s heart. More recently, he directed the critically acclaimed trilogy of samurai movies, i.e. The Twilight Samurai (2002), The Hidden Blade (2004) and Love and Honor (2006).
“Kawaki concerns that aspect that drives us (…) as well as how (…) something real, trauma, affects the speaking being. It (…) shows vividly the most irrational aspect present in this world and in speaking beings.”