Shinya Tsukamoto's Vital and A Snake of June are playing on Mubi in the United States in the double bill The Human Extremes of Shinya Tsukamoto.Top: A Snake of June. Above: Vital. Shinya Tsukamoto has explored the full spectrum of human darkness over his four decades of filmmaking, including the raw nihilism of 1989’s Tetsuo: Iron Man, the desperate grief of 1998’s Bullet Ballet, and the paralyzing pacifism of 2018’s Killing, just to name a few select examples. And yet the director is usually only associated with the violence and surrealism of the earlier films, particularly edgelord employee pick Tetsuo. What’s often overlooked by fans is that these earlier films stem from the same fascinations foregrounded in his later, more restrained works like Killing (2018) and Fires on the Plain (2014): abject corporeality amid environments molding us as much as we exist in them, and ontological explorations of breaking through those constraints.
- 11/19/2020
- MUBI
After many of his films dealt with the relationship of the individual to the city as well as the consequences of violence for ourselves, it was quite understandable Japanese director Shinya Tsukamoto wanted a slight change in topic. Especially his previous project, “A Snake of June” (2002) has already hinted at the link of body and nature, how the urban landscape and technology have led to some kind of estrangement of mind and body. Perhaps considering he felt the topic worthwhile to explore further, Tsukamoto started to venture more into what he thought was the greatest taboo topic of modernity, the death of the body. In an interview about “Vital”, which was the result of that research, the director states that within the modern landscape defined by urbanity and technology, we have learned to ignore or avoid the reality of death, resulting in the body losing its worth to many of us.
- 11/11/2020
- by Rouven Linnarz
- AsianMoviePulse
After many of his films dealt with the relationship of the individual to the city as well as the consequences of violence for ourselves, it was quite understandable Japanese director Shinya Tsukamoto wanted a slight change in topic. Especially his previous project, “A Snake of June” (2002) has already hinted at the link of body and nature, how the urban landscape and technology have led to some kind of estrangement of mind and body. Perhaps considering he felt the topic worthwhile to explore further, Tsukamoto started to venture further into what he thought was the greatest taboo topic of modernity, the death of the body. In an interview about “Vital”, the film, which was the result of that research, the director states that within the modern landscape defined by urbanity and technology, we have learned to ignore or avoid the reality of death, resulting in the body losing its worth to many of us.
- 12/7/2019
- by Rouven Linnarz
- AsianMoviePulse
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