Daihachi Yoshida

A visually attractive film, with strong performances and some goofy humor. But underneath lies a mean-spirited dramatic layer that leaves a pretty strong impression.

While Yoshida has quite a few stories to tell and quite a few angles to explore, the film still feels like a very tight package, sporting little to no cruft.

I'm actively seeking out Yoshida's final film, if it proves to be as good as Funuke and Permanent Nobara he's making my select list of directors to watch.

After struggling for a decade to find his best form, Yoshida returns with a unique little film. Teki Cometh lives deeply within the arthouse realm, but it's more than just a drama about an old man battling a lonely and somewhat purposeless end of his life. The mundane is alternated with more dreamy sequences, but there are also some genre elements that slip into the film during the second half. The black-and-white cinematography looks slick, the performances are strong, and the build-up is solid. It's not up there with his very best, but it's an extraordinary film regardless.

While a tad long, Kuhio Taisa is a great film that has little or no trouble keeping your attention. Sakai does a great job portraying Kuhio as a weird, devious but ultimately likable character.

Another solid Yoshida, though not quite as good as the rest of his oeuvre. Six inmates are stationed in a small seaside town as part of a rehabilitation project, it's no surprise then that people start dying soon after. The film is dry yet funny, well acted and sports an interesting soundtrack, but lacks a touch of genius.

Japan loves a good corporate drama (with minor thriller elements). Not something I'd expect Daihachi Yoshida to direct, but here we are. The film is solid, pretty much what you'd expect from a film like this, but it doesn't do much to set itself apart from a slew of similar features. In that sense, it's a minor waste of potential, as Yoshida can do better.