Til Madness do Us Part (2013)

Director: Wang Bing

Yunnan, located in the Southwestern region of China, is home to a large multi story complex that is the infrastructure of a mental institution, where we focus on just one of what appears to be many floors. Here, the many tenants seem to follow no law nor is there any sort of authoritative happenings going on in order to help guide these residents about on their daily livings. Instead, these poor souls are just set loose within the confines of the building, well the floor in which they reside, and are free to roam wherever and do whatever they see fit. Chaos runs amuck here, and Wang Bing's relentless following camera captures the sad reality of a system that cares not of its own subjects.

Til Madness do Us Part is a work that left me completely speechless when the credits finally began rolling after four heartbreaking and infuriating hours. I was set to do reviews spanning numerous works of Wang's, but after sitting through them, and this one in particular, I found myself exhausted and at a severe loss for words. His filmmaking and the realities in which he reveals in such a staggeringly raw manner, admittedly make it really hard to just start speaking about them afterwards.

Josh Parmer's Top 15 Asian Films of 2018

TOP 15 ASIAN FILMS OF 2018

Best Short: Blue - dir. Apichatpong Weerasethakul

[Thailand]

A hypnotic 10 minute piece by Joe that perfectly encapsulates the drifting in and out of sleep and various states of consciousness. Felt nightmarish to me in a sense and really envoked a sense of dread that I've not felt in a long time. I think this is one that everyone will experience and interpret differently.

15.) Swing Kids - dir. Kang Hyeong-chul

[South Korea]

Kang Hyeong-chul is perhaps one of the world's most underappreciated directors outside of his home country. Both Scandal Makers and Sunny are two of the finest comedies of the last 10 years and this year's entry into his ouevre will dance its way right into your heart. Some of the most spectacular dance choreography ever displayed in a motion picture. The war setting makes for a very unique backdrop for this hard hitting musical dramedy. Also, Gared Grimes is a tapdancing beast!

14.) Caniba - dirs. Verena Paravel, Lucien Castaing-Taylor

[Japan]

To be honest, I have no idea at all where this should or shouldn't rank, but I do know that I have never been this uncomfortable watching anything, ever! Issei Sagawa and his brother disturb me to no end. I am not sure which words to use to accentuate what I took away from this documentary other than to say it is a completely spellbinding experience. I frankly wanted to stop once I got going, but Caniba sank its claws into me and I couldn't look away. Not sure whom I'd recommend this too, but it is a fantastically well crafted doc.

13.) Marlina the Murderer in Four Acts - dir. Mouly Surya

[Indonesia]

An utterly unique and refreshing film to come out of Indonesia in quite some time. A western revene flick with supernatural and comedic elements that all blend into a one-of-a-kind experience that puts the viewer on the edge from frame one and doesn't let up. Marsha Timothy gives one of the year's strongest performances as Marsha. The score is also electrifying and the landscape is lensed so beautifully that even Abbas Kiarostami would blush.

12.) Neomanila - dir. Mikhail Red
[The Philippines]

Three films into to an already booming career, Mikhail Red continues to craft high quality entertainment and still enjoy his youthful 20s. Saw this one during my coverage of Osaka Asian Film Festival this year and it has stuck with me throughout. To echo what I said in my review months ago, Red has directed one of the best South Korean thrillers not filmed in South Korea. I mean that in the best way possible and I am thrilled to see him help pave the way for Pinoy cinema as a whole. A lot of gems are popping up from the region.

11.) Tumbbad - dir. Rahi Anil Barve

[India]

One of the most unique films I've ever seen come out of India, Tummbad is a supernatural fantasy horror steeped deeply in Indian folklore and culture. I may not know exactly the background of the Goddess used in the film, but I do know the opening is insanely intense and has to be one of the greatest openings in any movie this year. I think it falters a bit in the middle, but the character design and cinematography coupled with the perfect dreary atmosphere makes this one of if not perhaps the best horror film of the year. I cannot wait to see what the director does next. I do hope this gets the recognition outside of India that it most certainly deserves. A must see for horror enthusiasts all over the world.

10.) One Cut of the Dead - dir. Shinichiro Ueda

[Japan]

The hottest ticket in Japanese cinema and noe embedded in local pop culture, One Cut of the Dead is the little film that could, opening up on only two screens and going on to gross more than 1,000 times its budget and become a box office giant, making history for an indie film of that nature. Profit figures aside, it's easy to see why One Cut has been such a huge smash and is making waves across the world. It's a completely fun and bonkers flick with the heart of a giant. I have not had a more fun cinematic experience all year and I don't see a movie making feel quite this way again for a very long time. Pom!!!

9.) Cambodian Textiles - dir. Tatsuhito Utagawa

[Cambodia / Japan]

Going into this documentary I had no interest in the subject matter but given the film's beautiful cinematography and serene nature, despite the fact that its central man in focus, Kikuo Morimoto, is dying of bladder cancer. Spending so much time learning of traditional Cambodian textile weaving was a special treat that I hadn't realized I wanted. One of the most visually lush works of the year. It is a shame that this niche little picture more than likely won't reach the audience it most definitely deserves. I have my eyes wide open in anticipation of whatever director Tatsuhito does next. I absolutely cannot recommend this one enough. This year's most underseen and underrated film.

8.) The Day After - dir. Hong Sang-soo
[South Korea]

If you have seen any previous works of Hong Sang-soo, you more or less know what you are getting yourself into. If you have never seen a Hong Sang-soo film, this is just a good a place to start as many others. In all seriousness, I think The Day After is one of his absolute best works, alongside some of his earlest titles such as The Power of Kangwon Province or A Virgin Stripped Bare by Her Bachelors. It almost seems as if Hong films it in black and white and it's bound to be one of his finer outings. As with all his works, it's very personal and completely open and real no matter how awkward or alcohol infused that may get.

7.) Mukkabaaz - dir. Anurag Kashyap
[India]

A boxing dramedy fused with political overtones that never get in the way in the heart or fight of the movie. Anurag Kashyup delivers his most accessible work yet and within that lies its strength. It is 2.5 hours in runtime and never is there a dull moment. You spend great lengths of time with the main and even side characters and they all have fantastic arcs in some way or another. The two leads' romantic chemistry is spot on and the boxing is raw and quite a spectacle to behold. Some of the grittiness you'd expect from a film by the director is still present and won't shy away his die-hard fans. With Gangs of Wasseypur Anurag Kashyap crafted one of the finest gangster films of all time and I believe he has done the same within the boxing genre with Mukkabaaz.

6.) Burning - dir. Lee Chang-dong

[South Korea]

Getting into this last chunk of films, it was admittedly extremely difficult to choose what goes where, but there is no doubt that Lee Chang-dong has crafted one of the most intense Korean thrillers in years. It's not action-packed and in fact is quite a slow burn, no pun intended whatsoever, but it will have you holding your breath almost the entire time. Breathtaking visuals coupled with three stunning and morally ambiguous performances by the leads will have you questioning everything for the entirety of its runtime, well passed once the credits have rolled. Bound to spark many a great discussion. Also, maybe the greatest ending shot of the year. An absolute stunner.

5.) Your Face - dir. Tsai Ming-liang
[Taiwan]

An observational and brilliant look at the normalcy of the human being, in all entertaining varations on it. We see different people of varying ages and sex, sitting on front of the camera, each framed subtly different, looking at them up close and personal. Some choose to talk, while others sleep or drift off. It can be humorous at times and quite mundane at others, revealing behavioral patterns we all share. The people seem to be chosen at random but Tsai's partner in life, Lee Kang-shang makes his way into the picture and his segment is very fascinating, perhaps bringing to mind that other folks here have some purpose in Tsai's life, but I digress.  Your Face really pushes the form in terms of this style of filmmaking and I really haven't seen anything like it. I can see this being a popular art installation piece. It's hard to say exactly what it is that makes it work, but whatever it is, it does so in spades.

4.) An Elephant Sitting Still - dir. Hu Bo
[China]

A very bleak yet not entirely hopeless epic that drifts through the lives of four different souls, all torn and on the fringes of society. They are battered and worn by things such as school, work, home life and other factors that every individual on this Earth must endure. It is a cold tale and given the context of the director's tragic end to his life, it's hard to seperate the art from the artist at times. It has completely turned off some but I was hit hard by it all. Extremly poetic and a marvel to watch unfold, I was completely washed away into these young peoples' sad lives. It reminded me too much of my own personal past and gave me much to latch on to. It is one of the greatest cinematic offerings from anywhere this year and an utter shame that we will never know what Hu Bo might have brought to us film lovers for years to come. That said, this is certainly one riveting work that is sure to be embraced for years to come.

3.) Shoplifters - dir. Hirokazu Koreeda
[Japan]

The fact that an artist can be more than a dozen films deep into his career and keep churning out masterpieces is a complete testament to the artistic genuius of Hirokazu Koreeda. Humanistic in ever story he crafts, Shoplifters may have his most endearing characters of all thus far. A reflection on Japanese society and humanity as a whole, from the opening scene, full absorption is had as you are quickly swept away into the world of this incredible family. Things take turns in ways that will keep you on your toes. Sakura Ando gives the performance of her entire career at this point, and Lily Franky really ups his already solid game as well. Once more, a loving rest in peace to the late and great Kiki Kirin. Shoplifters deserves every accolade and award that can be hurled its way.

2.) Bad Poetry Tokyo - dir. Anshul Chauhan
[Japan]

And the best actress award goes to... Shuna Iijima. Seriously though, she completely knocks this leading performance into another world and never looks back. The last time an actress completely melted my brain like this was Jeon Do-yeon back in Secret Sunshine in 2007. This stands neck in neck with that performance and easily takes the finest of 2018 in my book. She is completely fearless and packs an emotional wallop hard enough to put you in a tear induced coma. Anshul Chauhan's remarkably stunning directorial debut is the film of 2018 that everyone should be talking about. I don't think there has been a drama more powerful this year. An extremely raw character study on abuse and the effects it takes on the soul. Anshul, if you are reading this, I want your next film in front of my eye sockets as soon as possible. Bad Poetry Tokyo is powerfully seered into my brain.

1.) Dead Souls - dir. Wang Bing

[China]

Without a doubt the most important piece of cinema in 2018 goes to this mammoth of a documentary. Clocking in at 495 minutes, yes... over eight hours, Dead Souls is a massive undertaking for any type of film lover. 12 years of recorded testimonies revealed by survivors of the 1957 Anti-Rightist campaign in China. My final bit from my review will be pasted here, as I'm not sure what more I can say to add towards my appreciation:

Sitting through 8+ hours of listening to these elderly men reflect back on the inhumane hardships they endured; the starvation, beatings, cannibalism and death they were surrounded with every waking moment, it's a wonder that any survived. Saddened and shocked in equal measure, the things humans put one another through never ceases to disturb me. These voices needed to be heard. Wang Bing was the perfect vessel to let these stories be told. May their souls rest in peace. A dark corner of history that had been told in an uncensored fashion. Easily one the most important pieces of cinema to surface in 2018.

Dead Souls truly is 2018's film that demands the attention of all who can see it. An utter masterpiece within a league of its own.

Fengming, a Chinese Memoir (2007)

Director: Wang Bing

Starring: He Fengming

Continuing my exploration of documentarian Wang Bing's body of works, this time around I gave Fengming, a Chinese Memoir a go, and per usual with a Wang film, it completely put me through the ringer.

A three hour interview with He Fengming, an elderly woman who recounts her harsh life in China after the year 1949, having faced gruelling hardships as a falsely accused rightist during the Anti-Rightist campaign and the Cultural Revolution, spanning more than three decades.

He Fengming

He Fengming went on to write a book on her experience and apparently a reading of said book brought Wang's attention to her and he set out to meet and interview her in the mid-90s, conducting a 50 minute interview, which he would years later add on to, thus giving us the three hour interview we have in its final 2007 released version. It works flawlessly as I never realized a difference throughout.

The style here is remarkably stripped back, even for Wang, with a one camera set up that very rarely relies on a dissolve or cutting technique, mostly happening when He Fengming got an unexpected call on her home phone, or needed a quick restroom break.

He Fengming with her first husband,
and their two sons.

The depth and detail in which the interview explores is no less than heartbreaking and the stories told are exhausting and really wears on one emotionally. The things people went through during this time are beyond wretched and Fengming's own experience was no exception. The loss of family members and widespread famine due to food shortages are just the scratch of a surface that runs very deeply. By the end of three hours, I was a complete mess.

I do wonder if her book was ever translated into English, and I feel I must seek out more on this brave woman. Wang Bing's Dead Souls is the perfect companion piece to Fengming, a Chinese Memoir and I most certainly highly recommend both. I have yet to find a WB film that fails to impress me. Quickly becoming one of my very favorite filmmakers.

Written by Josh Parmer

Dead Souls (2018)

Director: Wang Bing

"Beneath this Earth, rests bones."

For 12 years, spanning 2005-2017, documentarian Wang Bing trekked throughout China, interviewing various survivors of the Communist Party's Anti-Rightist campaign of 1957, where 3,200 men deemed "rightists" were held captive and sent to re-education through labor camps, where only a mere 500 would survive. Some of these remaining men share the horrors of their harrowing experience in one of the most monumental documentaries ever created.

Clocking in at a colossal 495 minutes, Dead Souls is a large undertaking for any type of film lover. Some may be put off by this initially, but I can attest to the importance of its runtime. Even at over 8 hours, some of the interviewed victims have been cut from the final film. There are so many stories told here, none lesser or more important than the others. There is a balance presented here, and the interviews take as long as they need. These lives and confession are extremely important, their voices worth every second heard. I am so thankful a work like this can even exist.

Most of the film cuts back and forth between 2005/2006 and 2016/2017. At times we hit a moment between the two but the bulk of it bounces around those timefames frequently. The video quality fluctuates due to the limitations of video equipment in the earlier years, but the aesthetic is never meant for flash. It maintains a camera that never intrudes or demands, but one that follows and let's the subject be the weight as it most certainly should be in this case. I admire the moments the director's arm slips into frame or his reflection is seen in a mirror hanging on a closet door as he peers through the viewfinder of his camera. It is as raw as it can get and nothing is shyed away from if it intervenes with the moment being captured or story being told. There are cuts but only presented in necessary moments, such as a person exiting the room for a break or of the interview is to be carried on the next day.

There is no use of score and to powerful effect. The emotional weight and resonance felt merely needs presented by those on camera. As said before, the visuals aren't really a highlight, by way of design, but the shots where the camera travels through the desert in more current times, over the camps, haunting abruptly to examine skeletal remains poking up out of the ground, before moving on only a few steps to the next pileof scattered bones. Haunting is an understatement. In addition to the more traditionally shot interview, moments like these or a hard cut to a note written by one of the deceased, there is just enough variety to a standard style of visual presentation to keep things fresh throughout.

Sitting through 8+ hours of listening to these elderly men reflect back on the inhumane hardships they endured; the starvation, beatings, cannibalism and death they were surrounded with every waking moment, it's a wonder that any survived. Saddened and shocked in equal measure, the things humans put one another through never ceases to disturb me. These voices needed to be heard. Wang Bing was the perfect vessel to let these stories be told. May their souls rest in peace. A dark corner of history that had been told in an uncensored fashion. Easily one the most important pieces of cinema to surface in 2018.

Written by Josh Parmer

Mrs. Fang (2017)

Director: Wang Bing
Featuring: Fang Xiuing plus Her Family and Friends

Mrs. Fang is 68 years old and has an advanced form of Alzheimer's disease, and she is bedridden, accompanied with care and watched over by her daughter and son. Various family members and friends pop in and out on her, closely observing her last ten days of existence on this Earth. Death is inescapable and Wang Bing's examination of the final stage in life simply has no padding. For better or for worse, we see this woman lay through her final days and then fade into what ever lays beyond. It is a tough watch and will leave many a viewer divided.

I don't think there is much to really spoil here as there is no way to not know how things will turn out, but the way in which the film transitions into observation of Mrs. Fang's deteriorating health is abrupt and shocking. Things happen in life unexpectedly and a hard cut mere minutes into the documentary greatly reflect the cold possibilities that life may throw one's way. The Alzheimer's was there for some time, although the specifics are unknown, and at just the snap of a finger, only some months later, she is on her back, skin tightened and drawn in, her teeth protruding from her mouth indefinitely, appearing much thinner than before and it isn't known whether she is aware of much of anything going on around her or not at this point.

Cambodian Textiles (2017)

Director: Tatsuhito Utagawa

Featuring: Kikuo Morimoto

Kikuo Morimoto, a Japanese native from Kyoto, travelled to Cambodia after its civil war, where the art of traditional textile weaving was practically extinct. He renovated a large piece of land and created a village that strived in this near forgotten art, crafting a successful economy and a village that has a lot if heart. During the time this documentary was made, Morimoto had revealed he was diagnosed with skin cancer and opted to not receive treatment, but to rather let life go its own pace on him. We see roughly two years of he and the locals lives as he inches closer to his departure and reflects on the state of Cambodian textiles and the community he helped build all these years ago.

Last Men in Aleppo (2017)

Director: Feras Fayyad

Featuring: Khaled, Mahmoud and Subhi and the other brave people of Aleppo

This was an experience I wasn't ready for.

I knew about the issues going on in Syria and had seen various articles and videos scattered about on the web, but to be put right in the middle of the chaos, to see the day-to-day lives of these people, it shattered my heart into an uncountable amount of pieces. I am thankful for where I live and my surroundings but to not even feel for these people, which some don't, is just unfathomable and disgusting. I will try and not let my beliefs get in the way of the work here, which frankly is the most singular powerful event I've witnessed with my journey through cinema.

Resistance at Tule Lake (2017)

Director: Konrad Aderer

Resistance at Tule Lake tells the long-suppressed story of 12,000 Japanese Americans who dared to resist the U.S. government's program of mass incarceration during World War II. Branded as 'disloyals' and re-imprisoned at Tule Lake Segregation Center, they continued to protest in the face of militarized violence, and thousands renounced their U.S. citizenship. Giving voice to experiences that have been marginalized for over 70 years, this documentary challenges the nationalist, one-sided ideal of wartime 'loyalty.' - Subject summary commonly found online.

I typically wouldn't copy and paste a summary of a subject matter, but for a film of this nature, I wished to have it accurate as the weight of its story and nature in general is of great importance and I didn't wish to get a single fact wrong. Moving on, Resistance at Tule Lake is a beautiful and heartbreaking story that seems to have been practically hidden from the typical learning of history in America, but has since come out to the forefront, thanks to the filmmaker and this powerful documentary on the prisoners who rose against the oppression from the government during such a time of great friction between the nation and Japan. The survivors of this internment camp recount both their experiences and how this tragic time in American history shaped them into the people and more bravely, the continued patriots that they are to this very day.

I won't deny the relevance of this documentary in our current times of racial tension in the country, and the impact that it will surely leave on the many viewers who experience it, and the mere fact that this is a very much unheard of and important part of American that has seemingly went untold. The historical value is rich and the importance is of no doubt, but the powerful content embedded within this documentary is undermined by a run-of-the-mill format for a typical educational film of this style. For starters, the voiceover is entirely bland and carries no weight for the heavy subject matter. I get that it is trying to be informational and give a solid tone in its narration, but the voice carrying said narrative is bland and leaves the viewer uninspired and more tragically, given the powerful story being presented, uninterested. I had to force myself to stay focused, which is pathetic, as it only sits at about ninety minutes or so, typically a brisk and memorable experience with most documentaries.

Furthermore it does nothing to stand out from other educational docs. It feels so by the numbers that I see the sheer blandness of its execution only appealing to school systems that plan to play this in front of students. I assure you once again, that the story being told is powerful, and has me dying to dig deeper to further educate myself on this slice of history, but the typical movie goer isn't going to have their interest held by this. As full of life and passion that the interviewees were as they bravely recounted their stories, the overarching product feels bloated and uninspired, which is sad, as a bolder approach in execution could've propelled this to the realm of truly great documentaries, but will sadly be shelved and occasionally dusted off at libraries throughout the world.

I feel as if I am completely trashing the film, but if you can keep yourself focused and not fall asleep from the bland and uninspired narrator, you will be amazed and moved by this group of brave souls who dared to resist oppression during a dire time for the Japanese during this time in American history. These individuals deserve to have their voices heard after such long silence. Resistance at Tule Lake provides a rich and vibrant chunk of history that has practically went untold, but unfortunately this powerful story is padded in such a mediocre craft. The music alone is extremely manipulative and highly intrusive and will leave you pulled out of the experience for a majority of the runtime. Still, this is a story that absolutely needs to be heard and is incredibly relevant now more than ever, and to all of the incredible people that bravely fought for their freedom and the lovely people that chose to explore and reveal the true story of Tule Lake, I thank you.

Written by Josh Parmer

Tokyo Idols (2017)

Director: Kyoko Miyake

A fascinatingly chilling documentary that focuses on the young and upcoming idol, Rio. She is 19 years of age and has a small but loyal fanbase that seems to love her, quite literally. Interspersed with Rio's ongoing journey of rising to fame, we see a select few other idols, quite younger than even her that bring a disturbing look at society's sickening fascination with idolized youth. The level of obsession with celebrities and these young women that these men worship is the common thread that this film examines thoroughly in one of the most effective and haunting docs I've seen since perhaps Oppenheimer's Act of Killing.



Before we get this going, I'm quite aware that cultures are vastly different from one another and the idea of physical beauty and love itself is viewed to some varying degree, but there is no denying that what is going on here is not only disturbing but plain crazy in almost every manner. These young women truly believe that what they are doing is right, to conform to and project their beauty upon these broken men. In a country where women are still oppressed to an extent (insert country with greater oppression here), many think the only way to succeed and be celebrated is to go the route of becoming an idol. For those unfamiliar, in Japan an idol is a young girl, often between the age of 10-15, that dresses glamorously and produces pop music to perform on stage, in front of groups of 'fans', typically male, ranging from young adults to the elderly. In general these men in turn idolize and obsess over these young girls, often claiming some sort of love towards them, though they know typically that there is never a chance of anything actually ever blooming into fruition.

A Whale of a Tale (2016)

Director: Megumi Sasaki

JAPAN CUTS 2017:

A small, seemingly unknown town in Japan, Taiji, suddenly found itself propelled into the spotlight, under the fire of environmentalists and animal activists from all across the world when they were the subject at hand for the 2010 documentary, The Cove, which went on to win an Academy Award for Best Documentary Feature the year that it was released. Flash forward some years later, and this little town of whalers is being put back into the spotlight, even bigger than they had ever imagined they would be. From a town that no one talked about, to a sudden battleground, front and center of a discussion of whether or not whaling, a tradition for some 400 years for this community, is okay to continue as it is both a source of food and a cultural staple for this town, or are the creatures that are being hunted in these waters more than sport to be killed and in fact are highly intelligible creatures that deserve to be protected at all costs? A Whale of a Tale takes the refreshing perspective of taking a neutral stance by way of showing both sides of the debate at great length, creating one of the best documentaries to see in the last several years.

The community of Taiji sets up festivals and days of prayer
to celebrate and show thanks to the whales and dolphins the
local hunters have taken for their consumption.

Firstly, it is wonderful to see an animal focused documentary take a different route in presenting its questions. It is very much about the whales (and dolphins) here, but instead of focusing on a barrage footage of grotesque slaughtering and torture, leaning so specifically in one direction, it decides to take a stance in between the two opposing groups of the question at hand: Is it okay for these creatures to be hunted, and to what effect? We see the animal rights activists setting up camp along the cove where the local whalers come down to trap and hunt. They are clearly familiar with one another as during the beginnings of the documentary, you can see that they refer to each other on a first name basis. It has been a long ongoing battle to come up with some sort of conclusion and it isn't reaching any agreement between the two parties anytime soon it would seem. In the middle of all of this heat and bantering back and forth between the two groups, we get an American journalist by the name of Jay Alabaster, who has lived in Japan for some 18 years, who moves to Taiji to give a neutral matter of fact middle ground to analyze the issue from both sides.

Initially embarking on this journey, worry came to mind as I thought this may be a one-sided angry piece that shuns those who hunt, or in fact even trash those who wish to see the animals out of harms way, but as Mr. Alabaster came into play and once you realize that he is very neutral on the whole issue (even often wearing a neon yellow hat when he traverses the town, a symbol of neutrality) and thinks more logically versus emotionally, it becomes reassuring in its showcasing and debating of the overall issue. There are some nice moments that come throughout that show that the hunters aren't just heinous killers and they don't ever really get portrayed entirely as bad guys, which is wonderful. We see them in their homes, eating with their families, or even dining out with Jay at one point, calling him their friend. We get a real sense of the community here even within this structure, we see numerous points of view brought up by the locals, such as concerns with mercury intake from the fish, if they are endangered or near it, and so on.

Protesters from throughout the world that wish to save the animals!

In the end, I was thoroughly engaged with A Whale of a Tale. As I've mentioned several times now, it's so nice to see both sides of the argument presented in an intelligent and unbiased way from the perspective of the filmmaker presenting the subject. On a technical side, it's got a quite nice look to it overall and shows all sorts of angles and different looks of the town and the hunting and so on. There are actually some interesting debates that come up that involve the mayor of Taiji. You see the flaws on each end of the spectrum and really makes you as an observer question the whole thing. It will leave you thinking and that is the best thing a documentary of this nature can do. For those who care about this issue or documentary goers in general, there is a lot to like here, and it unlike many other docs that I have seen, it is one that I wish to study up on more in depth, and is sure to have a revisit in the future.

Written by Josh Parmer

Creeping Garden, The (2014)

Directors: Tim Grabham, Jasper Sharp

Now that Arrow Academy has expanded their reach to the US borders, it has certainly opened up what we are planning to cover on Blood Brothers. For their latest release, The Creeping Garden, we are further digging into new territory by covering a documentary. If memory serves, we have only covered one other documentary on the site (although that might be a lie) and going into The Creeping Garden was not necessarily an event that I was “excited” for per se. The Creeping Garden, however, had me engrossed almost immediately. Perhaps one of the issues I have always had when I watch documentaries is that they are on a subject matter I am normally interested in or already have a background for reference, but the focus on slime mold for this one most certainly had me perplexed, engaged, and questioning so much that I couldn’t pull my eyes away from the film. And it's executed in a way to make sure that the audience is left hanging on the edge of something to keep them interested in a topic that normally would make an audience snooze off. Talk about a surprise for the year.

Unchain (2000)

Director: Toshiaki Toyoda

Cast: Kaji 'Unchain' Toshiro, Nagaishi, Koji Chihara (narration)

Documentaries on boxing, and even fictional accounts of the sport told on film are something I've always been intrigued by, so it comes with no surprise, when Third Window Films announced they would be including Unchain in their box set for Toyoda, I became quickly excited. Going into Unchain, other than knowing the sport on which its real life characters were shaped by, I knew nothing upon viewing, which is nice.

There isn't a ton to the story to be honest, though it focuses on multiple people. Unchain Kaji, is a young, blistering spirit with the heart of a boxer. He isn't very great, albeit he is greatly determined. After being beaten on numerous occasion (every time, aside from a couple of draws I believe), Unchain never won a match, and to worsen things, his eyes suffered from nerve paralysis cause by the sport he loved. 3 other boxers, all linked to Kaji, have their stories told, and how they connect with him and they all went through together, how boxing (and variations: kick boxing, shoot boxing) made them who they were.

Unchain Kaji

For at least half of the film, I must admit, I didn't care for these characters too much, and maybe not very much walking away after it was all said and done, but I will not deny how fascinating and intriguing these beings were. They are all sort of losers in their own ways, but the testosterone driven lives led them all down very different paths. Kaji seems like a sweet guy, but his fists caused him more trouble and heartache than most would ever want to go through, yet he continues to be passionate for his art. I may not (definitely not) agree with his life choices, but his determination, is very admirable and worth applauding.

There admittedly isn't a ton to say on this one, but those interested in boxing will find something to hold on to. It is very engaging and you are getting to see these bizarre people being captured in a close and very real manner. Toyoda captured the essence of these boxers and their lives, and he nails it quite well. There isn't really much of an arc for any of them, save for Kaji, and he is sort of the same guy at the end that he was at the beginning, which may be the point, but I digress.

Boxing at its most personal.

I do like some of the stylized shots and the way some of the flash editing and sound designs heighten the imagery and narration being thrown towards you at breakneck speed. It's very stylish, but seems to reflect the inner (and outer) nature of these loud, and proud fighters. The slow-motion present in Pornostar, which technically was shot after this, is scattered about here and used to similar effect, and works every time. Entire boxing matches are presented here, in a plethora of angles, from ringside wide, and most effectively a camera (handheld) which I am assuming Toyoda was holding from right beside the ring. It's low, and tracks the boxers effectively, providing quite a bit of depth to the psychological state they are in, and unlike most boxing films, most of these matches don't end very triumphantly.

In the end, I quite enjoyed Unchain and it's real, no b.s approach. It's simply about some boxers and their lives, in which intertwine together quite well. It's peppered with just the right amount of style, and spirit. I wasn't standing up and cheering, but I vicariously watched like a hawk from the ringside. Odd characters and plenty of boxing, Unchain may lack the oomph of other works in the genre, but it most certainly holds its own in the ring.

Written by Josh Parmer

Ray Harryhausen: Special Effects Titan (2011/2016)

Director: Gilles Penso

If it wasn’t for Ray Harryhausen, a site like Blood Brothers wouldn’t exist. For us, his work as a special effects artist and animator was something of a childhood favorite and his impressive catalog of creatures fueled imaginations for an entire generation of film makers and fans. While documentaries are rarely covered here on the site, it was only my pleasure to be able to cover the one based on his robust catalog to be released on Blu Ray through Arrow Films called Ray Harryhausen: Special Effects Titan. While the film itself is a fairly straightforward documentary, for cinephiles and those interested in the historical elements of film, it’s one that comes with a big recommendation for its insightful look into Harryhausen’s career.

My Life Directed by Nicolas Winding Refn (2015)

Director: Liv Corfixen

I think this a nice short film, directed by Liv Corfixen, whom is the lovely bride to Mr. Refn. Now, I will warn that I am a big fan of Refn, and I am only shy Pusher 2 and 3 of seeing all of his films, and genuinely enjoying all of them. I don't feel that I am biased though. I think his weakest film is Bleeder [out of all of them], though I think I prefer it to Fear X. Even then, there was a lot about Fear X I liked. That is for another conversation though, and I've already wasted several lines, including this one, not speaking of the title in which I am here to talk about.

My Life Directed by Nicolas Winding Refn, is a nice, and short and sweet look into Refn's life whilst making a movie, though most of the film is the more intricate little conversations during the offshoot hours, after, or before. I like Refn as a personality, honestly. A lot of directors have this sort of mystic vibe about them, as in you don't see a whole lot of candid moments with them. My favorite filmmaker is Park Chan-wook, but rarely do I see the more everyday life side of him, and honestly I know there are a lot of people that don't care about that side or aspect of their favorite filmmakers or artists in general. I am on the flip-side of that coin of course, and I really dig seeing these little moments or fragments into the lives of these people who I truly admire.

That being said, this is my biggest complaint of the film. I don't feel that there are enough really shining moments [good or bad] that stand out. I also can't say how much footage she had to sift through to get what she got, or if there was even that much to truly feel a need to put into the film. Maybe a lot of the footage she captured just wasn't interesting. There are plenty of moments where Refn does not want to articulate or act on how he is feeling or open up for the cameras. In a way, he feels a little guarded that there is a camera on him this entire process.

I've also heard people say they wish this would've just been an extra feature on the home media release of Only God Forgives, and while I get that, I also understand that this was Liv's project. She wasn't obliged by a company or contractor to come in with a tiny crew and make a "behind the scenes" doc to be included as an extra feature. This was her, with her own camera, doing a project for herself. For that reason, I respect her choosing to release this later. And honestly, it probably wasn't even ready or remotely close to being ready for the release of Only God Forgives. I'm sure, as I mentioned earlier, that she had tons of footage to go through, as I see her possibly having the camera there almost at all times.

I don't think there is a ton to say about this film, other than if you are interested in Refn, or enjoy him as a filmmaker, then of course this is most definitely worth checking out. I think my biggest fault with it is its length. The film is not even a full hour (shy a couple of minutes) and I feel it honestly could've been a bit longer. Of course that's subjective, and you could argue with me. In the end, I truly enjoyed my hour with the Refn family (plus the humorous Gosling moments), and I patiently await to see where Nicolas takes me next.

Written By Josh Parmer

His Name Was Jason - 2.5/5

*Note: This review only covers the main feature of "His Name Was Jason" - not all the bonus material available on the 2-Disc version - which is a MUST HAVE for fans. 

What could be more fun than watching a documentary on the "Friday The 13th" franchise, right? We have a very long running series that has inspired all sorts of media frenzy with little effort expect in horrifying audiences with a slew of spectacular kills and a villain made hero by its fan base. This documentary should enlighten the fans to all sorts of fun knowledge and viewpoints from those involved.

"His Name Was Jason" certainly does all of this...to a certain degree. We get great interviews with actors from the franchise, directors, writers, make up effect artists, and even 'experts' including Joe Lynch ("Wrong Turn 2") and Adam Green ("Hatchet") who enlighten the audience with how the "Friday The 13th" franchise worked it's magic on them. Not only that, but we get clips from the series, some clever quips, and information about why the franchise has survived as long as it has. All hosted by Tom Savini - a true master of the genre.

It's just not enough though. It's run time clocked in at around an hour and thirty minutes (for the main feature). Do the math. Hour and thirty and we have a dozen films to cover? Not to mention covering the outside aspects of the critics, media, and Jason as an iconic figure? This means that "His Name Was Jason" has to fly at the speed of light to only cover the basics. We get surface level things (for the most part) about the franchise with no time to really dig into the whys, whos, and wheres of why this series became a true cornerstone of the horror genre.

The documentary is fun, I loved seeing what the outsiders had to say bout it - particularly with new genre icons like Green and Lynch, but the limited run time with the amount of ground it needed to cover is simply not enough. What they do cover is a solid surface level run, but long time fans like us here at Blood Brothers are already going to know these things. So its a refresher course. Mostly for fans, but only for the die hards who will buy anything with Jason's hockey mask attached.

Written By Matt Reifschneider

Anvil! The Story Of Anvil - 4.5/5

I'm not a fan of documentaries to begin with and in all honesty I just tend to avoid them. But since a few here and there do have to do with one of my largest passions in life (that being heavy metal music) I tend to watch those just because I like to know more about my favorite music. So with the amount of hype that "Anvil!" was getting, I knew I had to check it out.

So what we get with this little documentary is not a full on 'history' of the Canadian speed metal outfit Anvil, but a brief back story and some events and situations that lead up and account to the recording of their latest album "This Is Thirteen" and some of the touring and home life that surrounded this process. It's not really a behind the scenes pic either, even though it does some of that, but its very much the documentation of two struggling men whom fight to achieve their dreams with their band whom should have been considered one of the greats at this time (I will admit that the band is massively underrated as a musical act).

What made this little film so damn good was that it focused so much on the positive side of things. Unlike the piece of shit that was "Some Kind Of Monster" that showed a side of Metallica and company that was completely UN-metal, this bad boy shows us a side of perseverance, heart, and strength that many don't see in metal as a musical genre as a whole. This film is heartwarming and funny but ultimately human as it shows all sides of the spectrum as the band goes through some real life Spinal Tap moments just to play the music that they love.

This is both a sad depiction of what its like to be a struggling artist in a real world environment and a wonderful showing of strength and will power. This is not only one of the best documentaries I've ever seen, its one of the best films this year.

Everyone that is a true Metal fan should buy a copy of "This Is Thirteen" immediately.

Written By Matt Reifschneider