The abundance of theatrical releases, dramas, and streaming content in the world of visual media can be overwhelming. Even for passionate moviegoers, it’s easy to miss out on some great films. As we reach the midpoint of 2024, it’s an opportune moment to reflect on this year’s cinematic offerings.
In this discussion, film critics Nayuta Osanai and Tsuyoshi Kizu, co-hosts of a film-focused podcast, share their insights. They highlight standout films from the first half of the year and discuss strategies for enjoying today’s diverse range of cinema experiences.
INDEX
Hollywood’s All-Out Effort: ‘Oppenheimer’
-What comes to mind for you, Osanai?
Osanai: Certainly, ‘Oppenheimer’ (directed by Christopher Nolan) is a must-mention… Although technically it’s a 2023 release. In Japan, around the same time, ‘Dune: Part Two’ (directed by Denis Villeneuve) was also released, which made me feel like these two films marked the “final all-out effort of Hollywood cinema.”
A writer for films and foreign dramas. Known in Tokyo’s small theater scene as an independent theater practitioner, involved in playwriting, directing, and acting. Primarily focuses on American films and TV series.
Top 5 Picks for the First Half of 2024 by Nayuta Osanai
Oppenheimer
Anatomy of a Fall
Challengers
Evil Does Not Exist
Road House
Osanai: In contrast to ‘Dune: Part Two,’ which assembled an all-star cast in leading roles, ‘Oppenheimer’ featured a variety of actors, some relatively unknown. When I posted the names of supporting actors like Josh Hartnett, Dane DeHaan, and David Krumholtz on social media, it received quite a bit of attention. It means there are many dedicated fans of these actors. It made me think that Nolan might gather a broad range of movie fans like this and make his films successful.
Kizu: While it was unfortunate that its release was delayed despite being originally meant to symbolize 2023, I also felt that the timing after the Academy Awards heightened its topicality. Of course, the subject matter itself contributed, but the delay also brought attention to it. By the way, how did you find the content of the film?
A writer who focuses on film, music, and gay culture, contributing across various media. He is the author of “New Dad: The New Man in a New Era” (published by Chikuma Shobo).
Osanai: I really liked it. While I think it could have benefited from a bit more pacing, its fast tempo was so impressive that it felt like the audience was being left behind, and that was remarkable. I think it’s crucial that I understood there’s a significant gap between the creators and the audience, between Japan and Nolan. It’s a film that should spark discussion precisely because it doesn’t aim for easy comprehension.
Kizu: For me, Nolan has consistently been a director I can’t fully immerse myself in. Of course, when I first saw his work in IMAX, I felt the determination to capture something definitive as a leading director in contemporary Hollywood. However, at the same time, I had reservations about his films being tailored for IMAX…
It’s said to be a first-person film that uses the “immersion” promoted by IMAX, but I felt conflicted about whether modern cinema is limited to that approach. Because it’s first-person, I ended up sensing something like heroism. When telling the history of the atomic bomb, I wondered if it had been accepted by Americans as a heroic story of someone who had to become Prometheus.
Osanai: In terms of “heroic,” I may have had a completely opposite view. Regardless of being Japanese, Oppenheimer wasn’t portrayed in a way that made him relatable at all, in my impression.
Later on, the focus shifts to his involvement in the Red Scare. I believe American films often reflect on their own history, and in that sense, I felt this film also had elements of introspective American cinema.
“Is the film “Oppenheimer” an anti-nuclear film? Nolan’s Vision of a ‘Broken World'” (NiEW) reads
INDEX
Victor Erice’s Works: Symbolizing Retroactive Popularity
-Did you have any favorite films from the first half of the year?
Kizu: First, ‘Close Your Eyes’ (directed by Victor Erice). When Erice returned with his first feature film in 40 years, I felt a positive sense that a younger generation was rediscovering him. The so-called “cinephile culture” and “arthouse theater culture” have often been discussed as having declined in Japan. However, within the context of easy access to old films through streaming services, these cultures have actually evolved and seem to be experiencing a resurgence. I find it interesting that there’s been an increase in retrospectives at arthouse theaters, and I think “Dream of Light” symbolizes that trend well.
Top 5 Picks for the First Half of 2024 by Tsuyoshi Kizu
Close Your Eyes
Anatomy of a Fall
All of Us Strangers
Challengers
Evil Does Not Exist
Osanai: Regarding retrospectives, in the first half of the year, there was a special screening series at Shimokitazawa Cinema to coincide with the sale of the book “Women’s Movie Breakfast” (Film Art Company). Even the night screening of “Ms . 1981 Angeles , attracted a full house with many young viewers , intrigued by how they managed to hear about and develop an interest in the culture
Kizu: Two years ago, when I heard that Wong Kar-wai’s retrospective was popular, I felt like “finally, the revival of my generation has come.” I often heard that young people were attending as well, so I think that with the generalization of streaming, there’s a sense among the younger generation that “old movies are great too,” but in a different way than the era of rental videos.
