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Just shy of half a century is how long its been since director Shinya Tsukamoto entered filmmaking. He’s become one of the most celebrated filmmakers of this generation next to the likes of Takashi Miike and Sono Sion, and for good reason, aptly applying his visionary and stylish craft to numbers like his 1998 film, Bullet Ballet. Granted, Tsukamoto’s accolades didn’t come without some requisite pot-stirring along the way, which is exactly what Bullet Ballet achieved at the time, becoming one of the most polarizing pieces of work. Some critics have taken a liking to his “aggro art” style more so than others in the years since surfacing on the cinema map. The film certainly even goes out of its way breaking all sorts of rules during the more raucousing moments of action and danger, culminating its psychedelic, trippy, edgy indie feel to go hand-in-hand with its 35mm black-and-white lensing. All, in the end, to […]

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