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22 de may. de 2024 · Su película más reciente, El mal no existe (Evil Does Not Exist, 2023), se llevó cinco reconocimientos en el Festival de Venecia, incluyendo el León de Plata – Gran Premio del Jurado y el Premio de FIPRESCI. Este drama formará parte de la sección Far East en el 15° Festival Al Este, que se realizará en Lima del 29 de mayo al 9 de junio.
14 de may. de 2024 · It was all a big adventure for Takahashi—assisting a local man in search of his daughter—but he failed to realize that he was simply an intruder who had no sense of the world he wanted to become a part of. It was dark when, at the end of Evil Does Not Exist, Takumi finally saw his daughter. There is a disjointedness in the way Hana and the ...
6 de may. de 2024 · Crítica de la película El mal no existe, desconcertante y misteriosa que dejará al espectador boquiabierto. Dirigida por Ryûsuke Hamaguchi.
17 de may. de 2024 · "An instant masterpiece worthy of intense debate" - Barry Hertz, The Globe And Mail Grade A - “A Potent Japanese Eco-Fable from the Director of Drive My Car” - Original CIN Ryusuke Hamaguchi explains how the music for Evil Does Not Exist came before the film - CBC “Hamaguchi is a worker that feels like part of a rare, potentially dying breed of artist that wants to move, engage, and ...
13 de may. de 2024 · This article appeared in the May 10, 2024 edition of The Film Comment Letter, our free weekly newsletter featuring original film criticism and writing. Sign up for the Letter here. Evil Does Not Exist (Ryûsuke Hamaguchi, 2023) Ryûsuke Hamaguchi’s latest feature, Evil Does Not Exist, arrives with an alternate, shadow version: GIFT, a re-edited film created as a silent accompaniment to a ...
24 de may. de 2024 · Hoy quiero compartir con ustedes mi opinión sobre "Evil does not exist", la más reciente película del director de "Drive my car", Ryusuke Hamaguchi, quien regresa con un trabajo...
10 de may. de 2024 · Hamaguchi, in both Evil Does Not Exist and Gift, crafts such distinct rhythms to his storytelling, pacing and accompanying them with sound, music, dialogue (and lack thereof) in such different ways. Ishibashi’s control over the two works is so unique, where in Gift, her music is at the forefront, the central focus and where the visuals are an ...
