Fires on the Plain

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!

I am not familiar with the novel this is based on nor have I seen the classic film that shares the name, but this film on its own is something to truly behold. Tsukamoto goes all out in his signature dreamlike way of evoking such strong and animalistic emotion. His style is so expressionistic and primal, and as he has gone through a transition into digital, it only compliments those strong and visceral aspects as it takes on a new level of naturalism. Every scene and frame of this film is drenched in misery and solitude, even when the characters are so painfully not alone and surrounded by the gorgeous flora of the Philippines. The documentary style cinematography and editing that he has explored in his later career period pieces is quite unique and yet even while feeling of a piece, this film and Killing (2018) still tackle totally different tones and themes. I'm very pleased that I decided to dive into some of Shinya Tsukamoto's most recent work lately and explore beyond the iconic (and amazing) Tetsuo and now I just want to fill in all my gaps in his filmography!