Review: The Third Murder, Glasgow Film Fest 2018

Over the past two decades, Hirokazu Kore-Eda has quietly established himself as a director with an exceptional grasp of portraying interpersonal relationships. After a number of documentaries (and one drama, Maborosi) his feature After Life, released in 1998 and also written and edited by Kore-Eda himself, began a career that has featured wonderful pieces of human drama in the forms of Still Walking, I Wish, Nobody Knows and more.

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Review: Don’t Talk To Irene, Glasgow Film Fest 2018

Does a film need to strive for originality when it executes its premise so confidently? As the credits rolled on Don’t Talk to Irene, I couldn’t help but compare it to the raft of quirky indie comedies that have seemingly become a subgenre in and of themselves ever since Little Miss Sunshine made waves back in 2006. Yet I still had the biggest smile on my face, and came away thinking it was amongst the strongest films I had seen at the Glasgow Film Festival thus far.

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Review: Junk Head, Glasgow Film Fest 2018

It is rare that you get to see a film that can be considered a truly singular vision. While cinema is full of renowned auteurs, as a viewer we also understand that these are projects undertaken by hundreds of people. Not Junk Head. The ending credits are an eye-opener, with creator Takahide Hori credited under every possible position, starting from “Director” all the way to “Model Sculptor”. To call it a labour of love would be an understatement.

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Review: Perfect Blue

Twenty years on from its initial release, the late Satoshi Kon’s debut feature still dazzles and disturbs like few other films. This tale of Mima (Junko Iwao), a young pop singer turned aspiring actress whose mind begins to unravel under the strain of both exploitative people and a medium that encourages it, carries extra resonance today with the recent revelations regarding historic abuse from powerful men in Hollywood.

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