it feels like shinji somai went batshit crazy or was just enjoying too hard to play with his own thematic world in an absurdist and ironic scheme. p. p. rider is a hell of an obscure and self determined adolescent ride, wish more people could came across to this, it's sad how he remains so set aside in west. coming-of-age king!

while the godzilla movie series demands significant mutations for every period that japan faces (wwii to fukushima nuclear disaster), so should it be with such an important totem of japanese cinema, why not? tokyo story had its release in the showa era and because it is a story that speaks widely about family relationships, a pilar in japanese society, that it always deserves a freshness, a reframing, a reorganization of symbols which a new japanese era provides. although yoji yamada quite reveres ozu's style, he still has his tender touch and the powerful character swap to play, making this a soft experience.

bong joon-ho's work consolidates itself in the most tragicomic way possible. this ever-present feature in the social critique of a south korean society that perpetuates and eternalizes its social pyramid problems even in the various small gestures and movements that are made. it is a complete masterpiece and i am completely devastated to see how far our conscience and our goals become a means of perpetuating a position of subjugation.. but hey also completely glad to see it done so incisively.