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The iron, the metal, the cables, the blood Discover the review
The iron, the metal, the cables, the blood
The film is obscene, both materially and psychically; flesh and metal dance like hell and paradise, like day and night, like life and death. Discover the review
The film is obscene, both materially and psychically; flesh and metal dance like hell and paradise, like day and night, like life and death.
"In Japan, violence does not exist in everyday life. American films are violent and realistic because in America a kid can easily take a gun, go to school, and shoot his classmates. This does not happen in Japan where violence is systematically removed. Japanese employees get up in the morning, board an extremely crowded train, travel crushed against each other. They go to the office and bow to the boss for eight, ten hours. Then they return home and bow to their wives. Hour after hour, they accumulate an incredible amount of anger, yet their violence is always restrained. Only pain makes us aware of having a body" (Shinya Tsukamoto, 1995) Discover the review
"In Japan, violence does not exist in everyday life. American films are violent and realistic because in America a kid can easily take a gun, go to school, and shoot his classmates. This does not happen in Japan where violence is systematically removed. Japanese employees get up in the morning, board an extremely crowded train, travel crushed against each other. They go to the office and bow to the boss for eight, ten hours. Then they return home and bow to their wives. Hour after hour, they accumulate an incredible amount of anger, yet their violence is always restrained. Only pain makes us aware of having a body" (Shinya Tsukamoto, 1995)
Kotoko tells the story of despair, the banal and terrible despair of simply existing. Discover the review
Kotoko tells the story of despair, the banal and terrible despair of simply existing.
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