idk this war thing kinda sucks, imo!

bleak throughout, shuri and moriyama mirai are both excellent, and it somehow manages at least a little bit of hope in the end, liked this

idk this war thing kinda sucks, imo!

bleak throughout, shuri and moriyama mirai are both excellent, and it somehow manages at least a little bit of hope in the end, liked this

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.

Shin'ya Tsukamoto is absolutely dialed in here. He is still one of the few directors to somehow make the digital, verite style shooting work really well in period settings. In fact, one of the only to use those cheaper end digital cameras to enhance the horror of what he is depicting. The performances here are incredible and since so much of the film is spent still, watching them, it makes for a very engrossing experience for how limited the scope of production was. And those moments where things start to make sense to the Boy, and to us as the audience, land like a sledgehammer, Tsukamoto directs every actor and sequence masterfully.

The soldiers who couldn't return... didn't become bad people.