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Cloud.After four decades spent scaring moviegoers through all manner of supernatural subject matter, Kiyoshi Kurosawa has, with Cloud (2024), taken to exploring the psychological effects of a more everyday evil: capitalism. In this follow-up to his medium-length psychodrama Chime earlier this year (a film as cryptic and tantalizingly elusive as anything he’s recently endeavored), Kurosawa reconfigures a number of themes and ideas that have animated his long-running career in the horror genre, namely loneliness and the ways in which the internet can stoke malevolent forces from both within and without. Kurosawa has described Cloud as an “action film," a simultaneously apt and insufficient characterization for a movie operating on a slippery dialectical wavelength. It’s this cerebral approach to genre, rooted in the quotidian rather than otherworldly, that has led critics like Chris Fujiwara to place Kurosawa not alongside his contemporaries in the J-horror movement, but in the lineage...

Mario Murillo had heard enough. The longtime Charismatic Christian preacher, who got his start ministering to Jesus hippies in Berkeley in the late 1960s, began 2023 by blasting a pair of “false prophets.”

The duo were already notorious for touting false visions of a Trump re-election. Kat Kerr, whose heavenly lewk is a candy-pink bob and an American-flag shawl, prophesied that Trump would “win in 2020, write it down, it’s going to happen.” Robin D. Bullock, whose aesthetic is more mystic-’80s-leather-rocker, insisted God had revealed to him Trump would win “in a landslide.

Osaka Asian Film Festival 2021 announces the members of the Competition Jury and the Housen Short Film Award Jury.

Competition Jury Members

Ariyoshi Tsukasa (有吉司) / Japan / Representative of the movie distribution company Magic Hour

Ariyoshi was in charge of film programming at Tokyo Theatres Company Inc. for ten years. While there, he participated in the production of “Charisma” (1999) directed by Kurosawa Kiyoshi, and “Eureka” (2011) directed by Aoyama Shinji. After leaving the company, he founded Magic Hour. He has distributed the “McDull” series of Hong Kong animated films in Japan, the Iranian film “A Separation” (2011), the Filipino film “The Woman Who Left” (2016), the Danish film “Uncle” (2019), and the Vietnamese movie “Rom”, which will be screened at Oaff 2021.

Kimbara Yuka (金原由佳) / Japan / Film Journalist

Kimbara grew up in Kobe, Hyogo Prefecture. After graduating from Kwansei Gakuin University, she worked for a financial institution before entering the film industry. Over the past 30 years, she...

We’d like to offer a hearty “gefeliciteerd!” to the first-ever winner of Drag Race Holland, crowned in dramatic fashion during Thursday’s season finale (now available to stream on Wow Presents Plus).

At the top of the hour, four fierce queens remained in the running to become the first Dutch Drag Superstar: Envy Peru, 31, of Amsterdam; Janey Jacke, 28, of Volendam; Ma’Ma Queen, 30, of Rotterdam; and Miss Abby Omg, 25, of Breda.

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Since its debut at E3 2018 in June, “Fallout 76” has mystified some fans of Bethesda Game Studios’ post-apocalyptic role-playing series. It’s not a purely single-player affair like past entries, but also not an online game that’s solely focused on aggressive player vs. player combat. In Bethesda’s view, “Fallout 76” finds an ideal middle ground between them.

Players may not fully understand the scope or moment-to-moment feel of the action until the pre-release beta test launches in October, but the game’s creators continue to try and set the stage as best they can—and assuage any fears in the meantime.

That was true once again this weekend at Bethesda’s QuakeCon convention outside of Dallas, Texas, in which “Fallout 76” development leads discussed new elements of this fall’s survival-centric adventure and tried to answer some of the community’s top questions.

“People who come to the office and play it,...