Keita Morimoto is an artist, born and raised in Osaka, Japan. He moved to Canada in 2006, currently working in Toronto. He is a simple man who enjoys Summer and of course art. Keita was kind enough to lend me a few moments of his time so I could pick the brain of yet another artist from Canada. We talk about formal education, art, films, and cultural ideology! Read below for the full interview…

I notice a lot of the subjects of your paintings have a somber look, almost a calmness about them, that washes over their faces. Why not draw angry, happy, or excited? What type of feeling are you trying to evoke from your audience?

Keita: I’ve always preferred ambiguous expressions which I personally more attractive as well as mysterious. I also find strong expressions to be too distracting for the viewer to navigate through the whole image. Mostly, I create images as an attempt for myself or any viewer to have certain emotional experiences, disturbance, uneasiness, confusion and etc. I like images that challenge me visually and emotionally.

Have you ever participated in a live figure drawing session? Do you feel it would be more challenging painting real life rather then from your mind or reference photos?

Keita: I have taken figurative drawing and painting classes and agree that it is more challenging but also beneficial. I make as many studies as possible from life so I can create better forms and flesh even when I’m painting from imagination or photographs. In my junior year of school, I used to think that painting from life is more difficult. But now, I find it so much easier to achieve a real sense of color, dimension and space.

So what brought you from Japan to Canada? It seems many artists I interview have migrated to that Country.

When I was in a Japanese high school, I really wanted to experience and learn other cultures. I didn’t really have a preference so I came to Canada which seemed like a safe place to live.

You are knee deep in your studies and I was wondering how you intended to shift cultural ideology, or perhaps make your creative work more collective or combative in the upcoming semester? Or am I way off the mark?

Keita: For my thesis body of work, I do have a general theme of “cultural hybridity”. As such, I am attempting to merge different cultural aesthetic styles that have their own ways of perceiving reality. This theme is inspired by my own experience of moving to another country. I’ve become strongly attracted to the western tradition of painting and its history since I moved to Canada. While painting in the western traditional fashion over the past few years, my old devotion to Japanese anime, manga and game cultures gradually brought me back to re-think about my cultural origin. My next step is to include more specific motifs from different subcultures in the North America or Japan.

How is your experience in the U.S., have you found it to be beneficial, for example, spending time in a place like California? Does a change in atmosphere inspire your creations?

Keita: I have actually never been to California but I have gone to New Mexico to take a workshop from an American painter, David Leffel. This was probably the best learning experience I’ve ever had in my entire painting education. I do find traveling very inspiring and refreshing when I’m frustrated with my paintings, though even taking a short walk helps.

Do you have any favorite Asian Films or Anime?

Keita: My all-time favorite films are all by Hayao Miyazaki, especially Princess of Mononoke and Spirited Away. I love how he can communicate emotions through the subtlety in human expressions, colors, sounds and compositions without having any dialogues. His films are one of the biggest reasons why I wanted to pursue painting.

What is the greatest takeaway you have received from your Painting Studio classes and would you recommend formal education to a creative to become more well-rounded?

Keita: I personally think that formal education is very significant, especially to myself, in order to achieve what I visualize in my head. Learning about drawing, colors, compositions, or even paint application has all greatly helped me to get closer to what’s in my head.
However, I do believe that there are many different ways to approach image-making so I try not to fall into any sort of artistic dogmas, though I also try to learn as much as possible from painters I admire.

I was pleased to know we both know Kent Williams and Yuta Onoda, and they seem to be a source of inspiration for your work. Can you talk a little about the artists and movements that particularly affected you?

Keita: I’ve come across works of Kent Williams and Yuta Onoda through my friends. I’ve actually hung out with Yuta in Toronto a couple of times, a very nice person. It’s inspiring to know that there are artists from Japan working in the same city.

There are a number of artists who made big influence on my work. From history of art, I’m in love with works by Rembrandt, Giorgio Morandi, Euan Uglow, Andrew Wyeth and Edward Hopper. As for contemporary artists, I admire works of Yoshitomo Nara, Will Cotton, Lisa Yuskavage and Antonio Lopez Garcia.

Where does sketching fall in your process? When you sit down to draw is the goal the piece itself or is it a step in a longer painting process? What do you hope to learn from sketching when you sit down to create one?

Keita: Sketching has been like a hobby for me and also a nice break from painting, unless I’m actually making a sketch for a painting. I really enjoy sketching which seems to allow all my imaginations and thoughts to come out on the paper without thinking too much. It has always enriched my imagination and vision for painting.

2011 was a busy year for you, can you spill the beans on any 2012 shows, books, paintings, thesis works?

Keita: One of my paintings, “Maze II”, was accepted into Spectrum 18 that has been published in December, 2011. Also, my graduation show will be held in this coming May at OCAD University, Toronto, which I’m really excited about.

Visit the below link to to vote online to see this artist get a exhibit booth at SCOPE New York.

http://keitamorimoto.artistswanted.org/yr2011#.Twyhx5f4Bdh.facebook/
http://keitamorimoto.com/
https://twitter.com/#!/KeitaMorimoto/

K-ON! fans will enjoy it, and it might just have enough mass-market appeal to be interesting as a family movie for people who have never seen the series. However, this film will get the most enjoyment from fans of the series, no doubt. The movie opens, appropriately enough, with the lovable Yui, Ritsu, Mugi and Mio practicing, except this time the sound is far more aggressive than much of anything they have generally performed until now. The most junior member Azusa comes into the club room and suddenly the band is getting into a fight about the direction of their music and general concerns about graduating and moving on to university. Perhaps this is setting up conflict as the band must go to London to find their roots?

According to Japanator, in the only two days since it has been released it has made over four million dollars at the box office. Reason being because The Disappearance of Suzumiya Haruhi was an excellent movie by KyoAni, but it was also nearly inaccessible to anyone but followers of the original series. The storytelling style of K-On, on the other hand, offers it an incredible opportunity to broaden the ranks of its fans. They paced it out pretty nicely, and it was generally well written. It definitely incorporates the elements that made the original such a huge success. I wasn’t taking notes while watching (too busy enjoying the thing myself), so there are probably some missing tidbits, but everything in a reasonable cause-effect relationship should be here.

Only a genius could write a story that leaves such character attachment. After a few of the films’ scenes you will find yourself strangely attached to the light music club, and all its members. The brilliance of the character development, each one with their own little quirks and traits, is the strong point of this movie. The animation style is, as stated in the summary of this review, beautiful. I’m one of those people who will look at a show and, regardless of the depth of story, potentially discard it simply based on appearances. This holds true for animated, live action, and CG alike. Sound is a big thing for me as well. This isn’t limited to just music. I find that a lot of animated films leave me wanting for depth, but it’s notoriously hard to place. Sometimes all you need to make a dialogue feel a little more natural is to have some ambient background noise; whether it’s the rustling of clothing or a busy city street. Again, “K-On!” hits that mark for me.

http://www.youtube.com/watch?v=hAehTb3HPJ0

Some critics and self-proclaimed ‘anime-purists’ may cite the series as being to slowly paced, predictable, and having little plot or purpose, but I think that’s what gives the series its charm. It follows five girls through their career in high school as they make friends and memories they will take with them for the rest of their lives. There’s something special to be said about a film that can grab your attention and hold it for so many hours, banking only on the viewer’s attachment to five fictional girls’ very realistic personalities and adventures. This anime comes surprisingly recommended.

Cosplay is a global hobby and, thanks to the internet, it has rapidly expanded into hundreds of countries. In particular, cosplayers from Russia and Eastern Europe are beginning to build a reputation for themselves as exceptionally talented and passionate newcomers to the world of cosplay. One of the fastest rising stars is Konoe, an 18 year old student located in St. Petersburg, Russia. Fans of Anime Matsuri will likely recognize her from the convention’s advertisements featuring her Laughing Octopus costume. While JapanCinema has a weakness for featuring beautiful women (and Konoe is no exception), her costumes are impressive in their technical skill, accuracy, and showcased with stunning photography. She is also a member of the cosplay team LIFESTREAM, which will definitely be a group to watch in the future. While language barriers tend to make it difficult to get a look at cosplay in other countries, Konoe was gracious enough to sit down with us and share a bit about her cosplay experiences.

First, can you tell us about yourself; how old are you, what do you do, etc?

Konoe: Hi, I’m Konoe, you can call me Natasha. I’m 18, I’m a student and I’m going to be a graphic painter. Cosplay is my major hobby and I try to do my best at it. I love making costumes; I love to sew and craft. I love video games; my favourites are the Kingdom Hearts series, Soul Calibur series, compilations of FFVII, and Devil May Cry 3.

What interested you in cosplay and why did you start making costumes?

Konoe: It is so cool! You can bring to life characters and make them alive. And you can be what you want to be, even Lara Croft or Princess Aurora. Also, with the help of cosplay I learned a lot of things which I have never done before. This is a good creative hobby; you may develop yourself in different directions.

What is cosplay like in Russia? Do you think it is different from cosplay in America?

Konoe: Cosplay in Russia it’s a growing trend among young people. It’s not so developed as in America. We are lagging behind as usual [laughs]. But we have more and more festivals, conventions, competitions. Each year the interest to cosplay increases. It’s necessary to maintain the quality of cosplay to stay afloat.

You also cosplay with your boyfriend. Do you enjoy making costumes with him?

Konoe: Yes. We have many common interests in arts. Cosplay is one of our joint hobbies. We love to do everything together. We have our cosplay team named Lifestream. *FFVII fans detected* [laughs].

You are very beautiful and some of your costumes are very sexy. Does your boyfriend ever get jealous of the attention you get through cosplay?

Konoe: Frankly, in the very beginning we had difficulties in this regard. That time we didn’t cosplay in a couple. Now we are all doing and planning together and there is no cause for jealousy. But some sexy costumes I’ve done for him, and it was photographed under his supervision. In any case, he likes my photos.

What is the most difficult and challenging aspect of cosplay?

Konoe: The making of costumes is a very difficult process. But it’s not so bad when you like it, is it? The most difficult is a criticism of others. Sometimes it is very depressing. But It is impossible to please everyone, right?

Do you watch Japanese movies? What are your favorite Japanese or Asian movies?

Konoe: Unfortunately, I haven’t watched any Asian movie yet. Sorry.

What is your favorite costume? Why is it your favorite?

Konoe: All my costumes are my favorite, because I only cosplay my favorite characters. I love my Aerith and Yuffie costumes. I loves Aqua so much, she’s my favorite girl in KH series. I love my Lady and Reimi cosplays cause they are most difficult.

You mostly make costumes from videogames, in particular, Final Fantasy. What attracts you to a costume and makes you want to create it in real life?

Konoe: I’m a very sensitive person and I’m attracted by everything. I’m fond of the game’s story, gameplay, characters, etc. I want to bring to life my most favorite moments of the games. I want to believe that it’s possible in real life. I’ll work on this [laughs].

The photoshoot for your Laughing Octopus costume is great and has been featured in an advertisement for Anime Matsuri, are you going to that convention as a guest?

Konoe: I was invited to the Anime Matsuri indeed, but I’m afraid it will be difficult to arrive in USA. In Russia the legal age is 18, but it’s not enough by the American law. *sigh*

Do you have any future costumes or plans to share with us?

Konoe: I want to make more of Yuna’s costumes. I’m going to have new photoshoots of my favorite games like Kingdom Hearts, Devil May Cry, Crisis Core, Chrono Cross. Stay tuned and you’ll see a lot of cosplays from Lifestream team [laughs].

Want to keep tabs on Konoe’s future cosplay? Follow her cookie crumb trail below:

http://konoe-lifestream.deviantart.com/
http://www.cosplay.com/member/142116

Mainichi Kaasan (also called Kaasan, Mom’s Life) is a family movie based the life of Rieko Saibara (Kyoko Koizumi) who is a mangaka and often has to take care of her two children by herself. Her manga and anime shows are funny in a light-hearted way, but somehow carries a sad nostalgia to them. That could be attributed to her husband, Yutaka Kamoshida (Masatoshi Nagase), who was a war-time photographer. His job takes him all over the world and is often away from home. He’s now trying to be a writer, but his love for booze often leads him to the hospital rather than to his work or family. The movie focuses on Reiko’s family life, and her complicated love for a man who she loves but yet hates at the same time. This is a complex family film that might appears casual and mundane, but quietly presents itself as one with a much darker veil.

Saibara is a strong willed woman who, with the help of her mother, takes care of the children and her husband quite well. With all the problems of motherhood and the constant pressure of meeting her manga deadlines, life is a always a big hectic. A large part of the movie present Saibara’s struggle with being a mother and a mangaka. Unfortunately, she works from home so there is no escape from both roles even if she wants to. However, she takes on every new challenge with gusto and (usually) complete the job in one piece. This part of the movie closely resembles what a typical Mainichi Kaasan episode or chapter is like. Midway through the movie, the wall finally comes down and viewers get to see the real life behind the edited story.

The truth is, Saibara’s husband is an alcoholic and for the longest time she tries to cover up the fact to herself, to her children, and to her readers. She has always depicted the father in her story in a positive light albeit he may appears a little strange. Constantly popping up and then quickly disappearing from their lives, the husband’s struggle with his drinking problem is actually the better part of the movie and the most comedic at times. As a photographer who records the images of war, Kamoshida has seen some very graphic images that continues to trouble him. When his memories of war merge with those of his family, he realized he has to take control of the situation even if the walls are crumbling around him.

http://www.youtube.com/watch?v=pQ2zzB3aNxM

The movie portrays Saibara’s ongoing crazy life and only glimpses of her husband’s inner demons. This, in turn, mimics the problem between the couple. Treated for alcoholism, Kamoshida’s problem actually appears to be more complicated and more similar to depression. Though the movie only touches lightly on the subject, depression and other mental illnesses are greatly overlooked in Japan and most people do not seek treatment for fear of being look down upon. Kamoshida hides the fact that he sees strange visions from his wife. She then simply thinks he must be drinking too much again and is seeing things. While the movie has some good points to tell about the issues faced by a modern Japanese family, the director never truly decides if the movie is a good-nature family movie, or a darker version of that. Funny moments with the kids are then followed by black and white scenes of war-torn countryside. The effect is jarring and disruptive. Overall, not a bad film but could be better.

I have an admitted addiction to Asian TV dramas despite the fact that they are, on a whole, absolute rubbish. My love is really the result of a few absolute knockout hits that got me addicted to the genre. Hotaru no Hikari (2007) is one of those rare, exceptionally good TV dramas. The 10-episode series (adapted from the manga by Hiura Satoru) is about 20-something Amemiya Hotaru. Though she has a fairly glamorous job in the office of a famous interior design company, Amemiya is what the Japanese refer to as a ‘himono-onna.’ This roughly translates to ‘dried fish woman’ and refers to women who pretend to have a neat and fashionable appearance in public, but secretly turn into lazy slobs when they are at home. Though lovely, Amemiya has little interest in dating or marriage and prefers to hang out at home in messy pajamas, drink beer, eat snacks, and never clean. (So, yes, this is a show about Constantine.)

Amemiya’s comfortable life in the traditional Japanese home she rents is turned upside down when the son of her landlord, unaware that Amemiya lives there, moves in after his divorce. To make matters worse, it just so happens to be her boss Takano Seiichi. Using the typical J-drama disregard for reality, both Amemiya and Takano refuse to move out of the house and begin to live together. Of course, Takano is shocked to discover how sloppy Amemiya really is and most of the initial episodes are spent with him mercilessly teasing her and implying that he will reveal her secret. Hotaru no Hikari falls into the romantic comedy genre and the first few episodes exist to establish Amemiya’s character and her dynamic with Takano. The series might feel slow in the beginning but it quickly gains momentum when Amemiya begins to fall for coworker Teshima Makoto. Turning to Takano for advice and assistance, the two set off to win her Makoto’s heart. Of course, the audience knows that Amemiya should really be with Takano and most of the plot’s tension revolves around their flirtation. Eventually, the two manage to get over that annoying Japanese habit of never revealing private feelings and continue to live together happily in their home.

Hotaru no Hikari strikes a good balance between romance and comedy while staying away from the overly melodramatic territory many Asian dramas get trapped in. This is, in no small part, due to the all-star cast involved in the show. Ayase Haruka (recognizable from tons of popular dramas, Tatta Hitotsu no Koi, JIN) has great comedic timing as Amemiya and manages to make her character as ridiculously adorable and loveable as possible. Most of the show rests on her capable shoulders and she portrays a sloppy himono-onna quite gracefully. Fujiki Naohito is also a veteran of many great J-dramas (most notably, Ichi Rittoru no Namida) and is utterly charming as Takano. Kato Kazuki is likeable enough as Makoto and possesses that stereotypical effeminate charm that younger Japanese men seem to have mastered. Hotaru no Hikari really possesses the caliber of acting that is so painfully lacking in most J-dramas; this really makes the series shine, despite some rather transparent and unbelievable plot devices.

http://www.youtube.com/watch?v=72Qnajq9kXo

Of course, the show possess many traits typical of Japanese dramas – there is some petty rival between Amemiya and another girl and the show down plays any sexual tension in favor of the personal connection between Amemiya and Takano. Despite their age difference, Amemiya and Takano just get along so well that one can’t but wonder if this is what most Japanese people hope to get out of marriage. Hotaru no Hikari is a romantic comedy, and by that right may appeal primarily to women. But, if you’re looking to indulge yourself in the guilty pleasure of Asian rom-coms, Hotaru no Hikari is one of the best out there.

The Viral Factor is a 2012 Hong Kong action film and another notch on director Dante Lam’s belt and stars The Green Hornet’s Jay Chou. On a mission to protect a scientist who has stolen a copy of the smallpox virus, Sean (Andy On) betrays his team of police officers in order to get the virus so he can mutate it into a biological weapon, develop a vaccine and sell it to a corrupt pharmaceutical company. The failed mission leaves Wan Fei (Jay Chou) injured and his girlfriend (Bai Bing) dead. With two weeks to live, he decides to spend his remaining days with his mother (Elaine Jin) who tells him that he has a long lost brother, Wan Yang (Nicholas Tse) whom she left behind with his father Wan Fei decides to track Wan Yang down in Malaysia but upon arrival, he discovers that Wan Yang has become a wanted felon and is part of the plot orchestrated by Sean.

Pretty much two-thirds of the movie is set in and around the streets of Kuala Lumpur, and is crafted as an electrifying action thriller with nerve-racking tension. The plot can ultimately be as cliché as plenty other action thrillers you have seen before but fortunately, the movie still projects a moving story that discusses about the rivalry and the family-bond of the estranged brothers. But, do not fret, there is action to be had! Fiery blasts from genuine military weaponry and army tanks in Jordan and in Kuala Lumpur you will be amazed by vehicles hurtling down from roof tops, cars crashing into monsoon drains and busy shopping centers.

Like I said, every scene has something blowing up, or someone shooting someone else. In one scene, both Jay Chou and Nicolas Tse’s characters were having a nice brotherly chat when the police interrupts them. With guns flaring and blaring. It’s a messy but exciting movie. The leads Jay Chou & Nicholas Tse, have done a fantastic job and quite possibly have produced their best work yet. But although steeped in show-offy camera work and offbeat bursts of emotion — the roguishly effective Nicholas Tse, as the criminal sibling Chou’s character never knew he had, breaks down in tears not once but twice. Nicholas Tse in my book has grown to be in a different league compared to his “Dragon Tiger Gate” days and character.

http://www.youtube.com/watch?v=abMk-z_RReQ

Although scaled to match the kind of adrenaline spectacles produced by Hollywood, Lam is clearly working a John Woo vibe here of operatically staged action laced with pumped-up personal stakes. Overall, this is one movie you do not want to miss if you are a fan of things blowing up. In general, the dynamic sound effects keep the viewer perpetually on edge although the story-line was a bit overwrought. The Viral Factor is one the Chinese action movies that deserves to be seen on the big screen.

Cherry Cheva (Chevapravatdumrong) is best known as a writer and producer on Family Guy. She is also, however, an author of two novels, She’s So Money and DupliKate, and she also co-authored, with Alex Borstein, It Takes a Village Idiot, and I Married One. She majored in psychology at Yale University. She later earned a Juris Doctor degree from New York University Law School, where she took part in the law review. Then she moved to Los Angeles to pursue writing. Below, we discuss her transition, her books, what it is like writing for Family Guy, & more.

Your initial studies in school was law and psychology, so how did the transition to writing come into play?

Cherry: I ended up as a psych major pretty much just because my school didn’t have a creative writing major, or else I totally would’ve done that. But then I took intro psych and liked it and majoring in psych was less credits than majoring in English, which gave me more room in my schedule to take random writing classes. Law school I went to just because my parents were really gunning for it and I didn’t have any better ideas at the time (I knew I wanted to write, but at that point in my life it seemed like a crazy, distant dream), so basically I just went, graduated, didn’t take the bar exam, and then moved to LA and got an assistant job at an agency.

Was it something that your parents encouraged, as far as a creative pursuit?

Cherry: HA! Nooooo. Frankly, they discouraged it. Which I have no problem with; it’s probably a better idea to tell your kids to go after a practical job instead of a creative one, since the latter are so hard to get, and then if they decide to go after their dream job anyway, hey, at least you know they REALLY want it.

http://www.youtube.com/watch?v=vlIm-riMN6Q

Being the only female writer on Family Guy, do you feel like there is more pressure to bring a more feminine POV to the writers table?

Cherry: Not really. We’re all just kind of in there together (and actually I’m not the only female writer right now; I have been at various times, but right now there are two of us). I would say that the rare occasions I’m called on to provide something specific, it’s for, like, what’s the best way to describe this…“young people stuff”? Like younger pop culture or how the kids are talking on the internet nowadays or whatever, which sometimes includes girly stuff but sometimes is just, you know, teen stuff in general.

So what exactly is the ‘gag room’, and what is the creative process behind that method?

Cherry: Because our writing staff is so huge, it’s actually pretty unwieldy to have everyone in the same room at once, so oftentimes a group of about five people will go off into a separate room and work on a specific, smaller part of the script: a TV gag or cutaway, or sometimes just pitching on one line, or sometimes writing a whole scene. So basically these people go off and come up with various options for what the cutaway could be, and then they go back in the big room (where the other writers are working on the main script) and pitch them, and then one of the options gets chosen to go in the script.

You’ve released a few novels in addition to script writing. Is this something that stemmed from your love of writing for the show? Could this lead to other writing gigs such as movie screenplays in the future?

Cherry: It’s something that stemmed from my love of writing in general—which means that yeah, I would LOVE to write for any medium, movies included, so that would be awesome if that happened!

She’s So Money does a good job portraying the differences between cultures, classes, and genders. Are you a firm believer in morals over money when it comes to your career in present day?

Cherry: I haven’t had that sort of dilemma presented to me yet. I don’t think it’s particularly on the up and up to be a hitman, if that’s what you mean [smiles].

Family Guy, particularly Brian, likes to toy with the idea of religion quite frequently. Do you ever feel conflicted whenever Seth makes Brian go on an atheist rant?

Cherry: Not at all.

Could we talk about Tricia Takanawa for a second? Tricia’s cultural background prevents her from entering certain buildings. In the series, she cannot go into a certain hotel because “they don’t allow Asians inside”. Are some of these gags based on real life experiences or just general stereotypes?

Cherry: General stereotypes. A while ago we were working on a scene with asian college kids drinking and turning red and lord KNOWS I have real life experience with that, but in general, it’s just the stereotypes that everyone already knows and is familiar with.

Let say, Family Guy gets cancelled, but American Dad and Cleveland Show are still on the air, would you transition into those shows or would you try something new?

Cherry: Any and all of the above! I would just love to keep writing for TV in general– it’s the most awesome job ever, so all those options sound good.

Since you’re surrounded by the animation industry year round, have you ever took an interest in Anime? Do you have any particular favorites?

Cherry: Not really. I watched Serial Experiments Lain a long time ago and the only thing I remember about it was that it was fairly depressing but had a good (but depressing) theme song.

http://www.youtube.com/watch?v=wYtGD2bWBGA

We are assuming this is top secret, but we have to ask…can you drop any hints on any future Family Guy plans?

Cherry: Um…in the most recent episode I wrote, Meg likes a guy. Whooo! Generic enough for ya? [smiles]

Want to keep tabs on Cherry’s projects and upcoming episodes? Follow her cookie crumb trail below:

http://www.cherrycheva.com/
https://twitter.com/#!/cherrycheva

White Vengeance tells the story of two brothers contending for supremacy during the fall of the Qin Dynasty, which ruled Imperial China from 221 to 206 BC. As rebels rose, the nation fell into chaos. Liu Bang (Leon Lai) and Xiang Yu (Feng Shaofeng), became leaders of the rebellious army, and also became sworn brothers in battle. The film is based on events in the Chu–Han Contention period of Chinese history. The film’s Chinese title is a reference to the Feast at Hong Gate, one of the highlights of that era.

The intelligence of Zhang Liang was the highlight of this movie where they continuously offered tactics advising their respective master Liu Bang and Xiang Yu. We need stories like these which remind us how China’s troubled past could have been so vicious and complicated. The dialogue has to be closely followed as this is one movie about two brilliant strategist and military advisors, who have to watch their own backs as well as the rivalry they face with one another. Therefore the skillful leader subdues the enemy’s troops without any fighting; he captures their cities without laying siege to them; he overthrows their kingdom without lengthy operations in the field. But of course this is not a history lesson, thus the highest form of generalship is to balk the enemy’s plans; the next best is to prevent the junction of the enemy’s forces.

Loved how the war scenes were shot from an aerial view showing the landscape as the cinematographer did a good job capturing the surroundings. However, like many swordplay films before, this one features the usual – elaborate and colorful costumes and production design, crisp cinematography, and an atmospheric music score to bring it home. The director’s 2010 effort, 14 Blades, should be a good implication of what to expect. Lee has proudly claimed this film as the best movie he’s made in his career. Despite taking a notable depart from the history it is based on, White Vengeance is pretty much on par with John Woo’s Red Cliff.

http://www.youtube.com/watch?v=LzxCNJIn4T4

While both actors are good in their roles, Lai dominates the show with his subtle and effective performance, showing calm and reserve even at dangerous times. This film seems to hit all the right notes as mind games, military strategies and counter strategies involving armies, the fate of their generals and one power crazed emperor make this film as watchable as can be. Readers of Sun Tzu’s “The Art of War” may want to give this one a watch, here is a film which blends strategy with motive very effectively, to an extent where those traits are blurred. This film is one that will scoop up plenty of awards and go on to be one of the great films based on war.

Uzumaki is a little reminder that pretty much anything goes when it comes to Japanese horror. I first watched this film about 10 years ago when I just a young impressionable girl, not knowing that the world was full of things more terrifying than ghosts and Leatherface, so here I am to warn you about the abstract concept of…Killer spirals! Ok, who am I kidding here really? I doubt many of you are losing sleep at night from contemplating the likelihood of a vortex opening under your bed and swallowing you whole, so what are the odds that this film is actually frightening?

Uzumaki begins at quite a dreamy pace in the sleepy town of Kurouzucho. Teenagers and potential love interests, Kirie and Shuichi, are a bit worried about Shuichi’s father’s eyebrow-raising obsession with spirals; filming snail shells, creating whirlpools in his miso soup and building himself a little garage/fun house where he keeps all of his spiral related objects. Eventually his fascination spirals out of control (see what I did there) and soon enough he’s climbing into the washing machine to get a ‘point of view’ spiral shot. Needless to say he doesn’t survive and the outcome is a tad grotesque. But this is just the beginning, as a teenager’s hair becomes oddly curly it begins to take over her brain (weird) some guy becomes so fixated with the vortex that he twists his body in the most disturbing way to form a spiral shape (weirder) and then of course, people start turning into snails (What?)

This is one freakin’ outlandish film. And not only is it the bizarre goings on but the filming too is a bit odd; shots are flipped and tilted sideways, there is a strange green tint when you know that something freaky is about to occur, random cuts of people walking but played in reverse, and quite frankly sinister, distorted close ups of peoples’ faces (reminiscent of Soundgarden’s ‘Black Hole Sun’) in which bulging eyes spin in opposite directions. Gross. What starts as a slow beginning soon escalates to frantic proportions until everyone (except for the teenage couple and a journalist who seem unexplainably immune) goes totally round the bend.

http://www.youtube.com/watch?v=ZDUD8IAKQ7A

So, back to the previous question, is it actually scary? No… Hmm well, yes. Sort of, but not really. To be honest it’s just weird in a thoroughly creepy way. It gave me a few chills while watching it, though they were down to the unpleasant and quite often sudden imagery, it’s the kind that tickles the back your neck when you find yourself staring at the screen in disbelief. I myself wouldn’t consider it a horror, maybe somewhere along the lines of a fantasy/thriller with a little bit of romance thrown in? The insanity never really gets explained, nobody really knows where this sudden vortex inclination came from, and the ambiguous ending might leave you baffled, but then what plausible reason could be given for events of this nature? Exactly. So, if you’d like to watch a film which makes sense then you should perhaps give it a miss (though, if that’s what you’re after you are almost certainly on the wrong website.) The cinematography is intense, the creativity is marvellous and there are plenty ‘What the hell?’ moments. It is wonderfully, disturbingly surreal and for that reason I think everyone needs to see it at least once.

“I only like it if it hurts.“

Masumara’s purveyance of the neorealist aesthetic to accomplish this unique fantasy/horror film is not only notable for its historical significance but also for its fearlessness. However, despite its controversial content, the film is ultimately about the artist and his art: the fixation, the obsession, and the funeral. We, the audience, are presented with these exaggerated characters and encouraged to reflect upon the global meanings which affect and are affected by humanity.

An obsessive blind man named Michio and his domineering mother abduct a fashion model named Aki Shima. His intention is to prove to the world that a new genre of art exists; a genre by and for the blind, only to be truly appreciated by touch. Before her abduction, Aki witnesses Michio at an art gallery, fondling a statue in her image. She cannot comprehend how this could cause her pleasure, but this elixir of repulsion and egotism is a strange but common brew. Later, he poses as a masseuse and caresses her sensually before capturing her and bringing her to his lair. He is a sculptor himself, having molded all the body parts in his grotesque warehouse over the course of six years. The body parts were modeled (from memory no less) after all the women he had caressed during his former stint as a masseuse. His father’s inheritance assisted with this construction. The oedipal connections in this film are numerous and certainly not subtle (are the enormous body parts in his studio a reflection of his original touch of a woman: his mother?) but they can also be brought into the discussion of art. Art, beheld by the artist, is larger than life; a sensuous experience gripping the very soul of the creator until one of them dies. Indeed, Masumara implies that the male-driven significance of Michio as the artist suggests that the violence inherent in the act of creation (be it by god, big bang, or sex) is a male attribute. The masculine drive is derived, executed, and justified through violent and selfish means (war has been instigated and perpetrated throughout history by men). This also lends the film a symbolic criticism beyond merely art but to the very nature of man himself.

The acting in the film is impeccable. Eiji Funakoshi’s performance as Michio is flawless and entirely convincing. Not once does he look directly at anyone and yet his “gaze” is intense. He is villainous yet oddly sympathetic, not because of his ocular handicap necessarily but for the inescapable prison he has made for himself (enabled by his mother of course) – quite the antithesis of Fini Straubinger in Herzog’s masterpiece, Land of Silence and Darkness. Mako Midori as Aki is equally convincing, but her behavior becomes more believable as the film progresses. The audience is essentially taking this journey with Aki and will become slowly desensitized to the impending violence. Noriko Sengoku plays the mother with just the right amount of obsessive protectionism (and yes, I’m referring to the economic policy) and heart-felt conviction. The character of the mother is a typical Freudian formula. Aki uses this as a weapon throughout the film and it ultimately results in death. The music is typical horror film fare, but there are also tense moments of silence which are very effective.

http://www.youtube.com/watch?v=SG34PFaQJgE

Aki narrates the film but it is apparent early on that she is unreliable (my favourite type of narrator). There are numerous questions that arise throughout the film. Why was she at the gallery? Her voyeuristic tendencies are nearly as advanced as Michio; indeed, by the end, her inhibitions are expunged and her inner nature is revealed. The ending of the film is entirely logical within the deranged mind of this obsessive artist; it is after all, merely intensifying the climatic abstraction of the artistic endeavour. It is shocking for a reason. The end of a work of art for the artist is a funeral; a celebration and a mourning from which there is nothing wholesome or civilised, only methods of self-indulgence.