luka313 Reviews

Love & Pop (1998)

Creativity!

[9/10 · 20 November 2009]

This film isn't something mind-blowing, but its special in its own way, cause of peculiar way Hideaki makes his movies.

The film follows four Japanese high school girls who engage in enjo kosai, or compensated dating. This is a practice in Japan where older businessmen pay teenage girls more commonly to simply spend time with them, or rarely for prostitution. The movie is also a coming-of-age story. The main character, Hiromi, does not have the direction in life that her friends already have. Hiromi's friends were going to buy Hiromi a ring, but Hiromi refuses to take all the money because she does not want her friends to be jealous. Hiromi goes on dates by herself to get money for the ring. Soon, she gets in over her head. Hiromi falls too far into the world of enjo-kosai as she tries to hold onto a "friends forever" vision of the past.

I gave it 9 out of 10 only because of Hideaki's sheer creativity in this film, storytelling, choosing camera, and camera shots (i find it so refreshing), and few other cool stuff...

If you like Art & Creativity, you'll sure like Love & Pop.

Liquid Sky (1982)

It's hard to explain....

[10/10 · 23 June 2009]

I can't explain it, but i got very fond of it. I've watched it only once, so i guess there will be many more replays. This film has a really strange i guess depressingly warm feel to it, i don't know... but it's definitely unlike anything else. If u read all of the comments on this film here at IMDb you'll get the picture.

Liquid Sky is a 1982 science fiction film produced and directed by Slava Tsukerman that has become a cult classic on the midnight movie circuit. The screenplay, which features an absurd storyline, was written by Slava, his wife Nina Kerova, and Anne Carlisle. The director of photography, Yuri Neyman, was a special-effects expert from the Soviet Union. Anne Carlisle also wrote a novel based on the movie

The film had a $500,000 budget, which meant that Tsukerman and his wife had to use a renovated Greenwich Village loft as the sound stage. The music for the film was composed by Brenda Hutchinson and Clive Smith using the Fairlight CMI, the first digital sampler/synthesizer. Much of it was original, while some songs were interpretations of music by Carl Orff and Baroque composer Marin Marais. The film is out of print.