For MUBI Notebook, I wrote about cinema's long history of portraying political assassination — with special emphasis on this movie. A snippet:
This is all filmed on a prosumer digital camera that Adachi frequently overexposes to produce a garish white sheen over the image, which signals dreams, flashbacks, or surreal moments worthy of comparison to the digital unheimlich of Inland Empire (2006). There’s hardly a single shot without Tetsuya in frame (almost always in medium shots, unless a disturbing revelation…