It’s been a particularly horny year for films. Perhaps not unnaturally; having been cooped up indoors while the viral blizzard howls outside, stoked by political…
Prisoners of the Ghostland is neither Sono nor Cage’s finest work, but it’s a good enough fix for those in need of either’s madman energy. If…
Red Post on Escher Street is a powerful, insurrectionary refutation of the larger culture’s nihilistic star-gazing and obliteration of art. Red Post on Escher Street, the…
John and the Hole Tapped by Cannes for its theoretical 2020 slate, John and the Hole carried a bit more intrigue than most films heading…
Two years ago, we published Sion Sono: Love Leaves Destruction in Its Wake, an exhaustive review retrospective of nearly every feature film that Japanese filmmaker Sion Sono had directed…
Two years ago, we published Sion Sono: Love Leaves Destruction in Its Wake, an exhaustive review retrospective of nearly every feature film that Japanese filmmaker Sion Sono had…
Two years ago, we published Sion Sono: Love Leaves Destruction in Its Wake, an exhaustive review retrospective of nearly every feature film that Japanese filmmaker Sion Sono had…
Commissioned as part of Nikkatsu’s line of Roman Porno reboots, and adherent to its rules, Sion Sono’s ANTIPORNO is, as its title suggests, a screed…
Japan Cuts—the largest screening event for new Japanese films in North America—just wrapped its 11th annual edition this week. Our one and only dispatch from the…
While much of Sion Sono’s early-aughts filmography is littered with cycles of violence and horror—films that plumb the depths of a darkness seemingly inherent in humankind—the ever-ubiquitous…
Sion Sono’s The Virgin Psychics is one strange movie, though not for the reasons his films are usually strange. True to its title, this high-concept…
The jarring, discordant tones present in Tag are established within just the film’s first few images, which juxtapose an ominous helicopter shot of school buses and the dissonant…
There’s a moment at the end of Love & Peace, an otherwise lumpy adult fairy tale, where the story threatens to come to a satisfyingly destructive head. At…
Shinjuku Swan, an adaptation of Ken Wakui’s manga series, finds director Sion Sono at his slickest, glossiest, and most impersonal. Set in the bustling titular…
Though the presence of Shota Sometani, the tortured lead actor of Sion Sono’s Himizu—who’s even sporting the same gray hoodie he wore in that previous film—establishes a…
There’s a moment late in Why Don’t You Play in Hell? that neatly sums up Sion Sono’s distinctive vision. A boy crawls through a blood-soaked…
Sion Sono’s near-masterpiece Himizu takes place in the shadow of the 2011 Tohoku earthquake and tsunami and ensuing Fukushima Daiichi nuclear meltdown, the largest such…
An unfulfilled housewife drifts away from her mannered husband by selling her body whenever he’s away in Sion Sono’s Guilty of Romance—a film that seems in conversation…
Despite its 2012 release, Bad Film captures a Sion Sono before he reached international acclaim; before his particular brand of otaku-influenced action films; and before his…
Only in a filmography as stylistically restless and formally anarchic as Sion Sono’s would a somber family drama like The Land of Hope be considered a radical…
Sion Sono’s Love Exposure is an epic, four-hour romantic comedy about terrible fathers, upskirt photography, Catholicism, and the meaning of love. Where Sono’s Bicycle Sighs could be categorized…