'Cherry Blossoms' Translates a Foreigner-in-Japan Experience Better than Sofia Coppola Could

New York Press | January 15, 2009
Doris Dorrie's latest movie (her first to be distributed in the U.S. since the 1990s) is good enough to remind contemporary film culture what Coppola lacks. Or put another way: Dorrie offers feminist ideas as the substance of her filmmaking and not the privilege of her femaleness.

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