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  • Kamome Diner

    Kamome Diner



    That is Kamome shôkudo.
    The diner’s fresh colours and unpolluted design brought me peace, and the rooms and objects’ reflection of their owners’ attitude were a delight to see. The conversations during which what was meaningful to each person was so perfectly translucent, yet not spoken, left me in exciting wonder. The combination of both made me feel the thrill of touching that in the grasp of perfection.

    On a later part, the surrealist tints of the woman who…

  • Glasses



    Naoko Ogigami’s colours are without disturbances: pale, a little dull even, but perfectly balanced. And of course, they fit the film perfectly.
    Megane’s slow pace is harder to get used to next to Kamome shôkudo's, mostly because the characters are hard to empathise with. That has more to do with the initial actions and situations than their lack of background development, which is something that stays permanent.

    What this film does is taking the essence from that lack of backlog…

Popular reviews

  • Girlhood



    Superficial attractions and triggers eventually turn into sincere bonds of friendship and deeper motives, through a very gradual process. Bande de filles holds an unhurried pace that by far prefers its minutes dedicated to recording the girls together as they dance to a song than to spend its time on any of their separate and definitely existing family issues. This approach gives care and special treatment to a narrative that would've otherwise fallen into the inconsequential, or perhaps could've been…

  • Edward Scissorhands

    Edward Scissorhands


    The aesthetics in Edward Scissorhands are magnificent (a combination of the mocking ironies of absurd uniformity with rampant creativity), but they aren’t the reason why I really like this film.

    A friend of mine rather idiotically asked if Edward Scissorhands is an “emo movie”. “Emo” (not referring to the music) is a word with little specificity to its definition and taken by each as it pleases them, but as I see it this film has nothing of the reserved reticence…