This has been an interesting year for political cinema in Japan. First came Miki Dezaki’s controversial documentary “Shusenjo: The Main Battleground of the Comfort Women,” which caused such a stir that it ended up playing at a Tokyo cinema for over six months.
Then Michihito Fujii scored an unlikely sleeper hit with “The Journalist,” a scathing portrait of politics and media manipulation, loosely based on a book by the pugnacious Tokyo Shimbun reporter Isoko Mochizuki.
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