WE MOVE LIKE WAVES

To be re-written: We Move Like Waves is a personal dreamlike meditation about connection, place, and memory. Directed by Jeremy Borg, the film travels between the most densely populated city on earth, Tokyo, and rural Japan–where we are introduced to Mariko-san. Mariko-san is a cancer survivor who now suffers from early stage post-chemo dementia. Borg speaks only a few words of Japanese. Mariko-san speaks only a few words of English. How can we connect if don’t speak the same language? How can we form a bond knowing they won’t remember. How can we Narrated by… the film is entirely in Japanese (with English subtitles) which lends a melodic authenticity to the storytelling, but is itself a lie, proof that our collective story is told through the lens of romantics and poets as much as historians and documentarians, and that perhaps we are all a little of each. The film was shot over the course of three years entirely in Japan.

When we are young, we flow like rivers, exploring the world, and eventually finding our way to the sea. There, we move like waves. Grindhouse captures the essence of exploitation cinema, drawing inspiration from low-budget B-movies, exploitation flicks, and cult classics. It skillfully recreates the rough, gritty, and often shocking aesthetics of the grindhouse era, complete with scratches, missing reels, and intentional imperfections to evoke the nostalgia of those grindhouse screenings. The film celebrates the creativity and ingenuity found in exploitation cinema, pushing the boundaries of storytelling, violence, and genre conventions. It embraces the spirit of exploitation cinema with its raw and unapologetic approach, delivering a double feature that is both thrilling and entertaining. The importance of routine. Perhaps it is these routines that define who we are. We move like waves.