In The Labyrinth of Cinema (Umibe no Eigakan – Kinema no Tamatebako, 2020), Nobuhiko Ôbayashi confronts us with the possibilities of the aesthetic view as a full-on immersion into filmic luddism and, at the same time, as an engaged approach to the treatment of one of the biggest tragedies in human history, the atomic bomb and World War Two.

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