Yuko Mohri is best known for her sculpture and installations comprising found objects and kinetics, often incorporating aspects of chance. Here she splices together scenes in Yasujirō Ozu’s acclaimed film Tokyo Story (1953) where no humans are present. Ozu’s film tells the story of an elderly couple visiting their children, who are now adults and whom pay their elderly parents scant attention. Much of it is set within small domestic interiors, with fixed camera shots and with much of the ‘action’ taking place off camera, such that its tempo, setting and themes all strongly resonate with our current circumstances, as does Mohri’s eerie subversion.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
Despite its simple premise, “imagine being a woman,” the horror behind "Men" feels fueled by a hollow understanding of the insidiousness of misogyny.
“Reboot” is crass and sometimes incoherent, and has much room to improve, but with investments of time and care, could flower out of the seed of a vision.
