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Eternality Tan

Hailing from Singapore & writing about cinema since 2007

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Silence de la mer, Le (1949)

February 21, 2026 by Eternality Tan

Leningrad Cowboys Go America (1989)

February 17, 2026February 17, 2026 by Eternality Tan

Outguess ET 2026 – Oscars Prediction Contest

February 13, 2026 by Eternality Tan

All the Beauty and the Bloodshed (2022)

February 10, 2026February 19, 2026 by Eternality Tan

Sentimental Value (2025)

February 6, 2026February 16, 2026 by Eternality Tan

Celebration, The (1998)

January 30, 2026 by Eternality Tan

2,000 Meters to Andriivka (2025)

January 24, 2026January 24, 2026 by Eternality Tan

Distant (2002)

January 19, 2026 by Eternality Tan

Palestine 36 (2025)

January 12, 2026January 12, 2026 by Eternality Tan

Golden Globes 2026 Prediction

January 11, 2026January 12, 2026 by Eternality Tan

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Category / Somai, Shinji

October 5, 2025 by Eternality Tan

Love Hotel (1985)

  • Somai, Shinji
  • 1985, Japan, Shinji Somai
  • Leave a comment

Somai shoots this artful Nikkatsu Roman Porno effort with trademark long takes, fusing eroticism with a sense of fate and lingering despair in the sexual encounters between a suicidal man and a woman prostituting herself for the first time.

โญโญโญโญ

Rating: 3.5 out of 5.

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September 21, 2025September 21, 2025 by Eternality Tan

Friends, The (1994)

  • Somai, Shinji
  • 1994, Japan, Shinji Somai
  • 1 Comment

Somai captures both the energy and inquisitiveness of youth, and the resignation of the aged, as three boysโ€™ encounter with a lonely old man brings about changed perspectives toward life and death. 

โญโญโญโญ

Rating: 4 out of 5.

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September 15, 2025 by Eternality Tan

Moving (1993)

  • Somai, Shinji
  • 1993, Japan, Shinji Somai
  • 2 Comments

Somaiโ€™s tender and transformative masterwork, about a child grappling with her parentsโ€™ divorce, boasts an extraordinary acting debut by Tomoko Tabata, capturing the emotional, physical and psychological aspects of separation with such empathy.

โญโญโญโญโญ

Rating: 5 out of 5.

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