I am happy that these kinds of gritty, but emotionally tragic crime films are still being made. Hiroshi Shôji’s Tatsumi is one of those skuzzy neighborhood dramas, the kind soaked in poverty, spit, blood, and tears. Where the crime feels more senseless and desperate than ever, and yet, an unlikely set of genuine relationships evolve out of the mess. The violence is not so much the point, nor is it gratuitous, but rather it is the syntax to make the audience feel the astringent carnage inherently in it. And, here, to contrast it with a burgeoning platonic love between the two central characters, the eponymous Tatsumi, and teenage mechanic tomboy Aoi. Tatsumi has a boat, and some small claim to a patch of water...
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- 7/22/2024
- Screen Anarchy
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