Luz is a cryptic, supernatural chiller and the directorial debut from writer-director Tilman Singer. It hearkens back to the horror style of the 1980s, offering grainy 16mm film, a creepy mood and an unsettling, synth-heavy score. It is the kind of film that will be enjoyed by fans of David Lynch or Peter Strickland, but Singer creates his own brand of surreal eccentricity. It’s challenging to describe Luz’s narrative because it’s far from straightforward. The film begins with a long-fixed take – a Chilean-born taxi driver called Luz, staggers into a German police station.
About to enter his fourth decade of filmmaking and with over 100 movies to his name, Takashi Miike is one of the most prolific filmmakers working today. With such a huge output (averaging four films per year) his work can vary in genre and in quality. Some of Miike’s crime features can be humorless and gory, but his latest feature First Love, sees him at his most anarchically playful, his trademark ultra-violence is present, but here it is tempered by black comedy and a touch of romance. First Love is the kind of film that is a treat for genre fans who are familiar with Asian gangster tropes.