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Pieter-Jan Van Haecke

Tomatometer-approved critic
Biography:

Pieter-Jan Van Haecke is a Belgian critic currently living in Japan. He solely focusing on Japanese cinema and provides in-depth reviews from a unique psychoanalytical perspective.

Publications:

Reviews

Movies TV Shows
Rainy Blue (2025) EDIT “With Rainy Blue, Asuna Yanagi does not simply deliver a heartwarming coming-of-age narrative, but also a work that has the potential to inspire young people.” – Psychocinematography Jan 22, 2026 Full Review Blazing Fists (2025) EDIT “While the use of voice-over in film can be quite controversial – a sign of weak writing that complicates visual storytelling, it works extremely well in Blazing Fists.” – Psychocinematography Jan 22, 2026 Full Review Dollhouse (2025) EDIT “Yaguchi’s Dollhouse is as great as conventional J-horror can get.” – Psychocinematography Jan 16, 2026 Full Review Demon City (2025) 55% EDIT “With Demon City, Seiji Tanaka delivers a good action experience. He delivers many pleasing moments of action and violent brutality for the spectator to savour, yet struggles to craft an emotionally potent backbone.” – Psychocinematography Jan 14, 2026 Full Review Under Ninja (2025) EDIT “Under Ninja offers what it sets out to offer in spades: entertainment.” – Psychocinematography Jan 14, 2026 Full Review Bullet Train Explosion (2025) 67% EDIT “Bullet Train Explosion is a competent sequel that will please audiences. Higuchi utilizes all the necessary ingredients to deliver a cinematic experience that puts the spectator on the edge of his seat and succeeds in touching him emotionally.” – Psychocinematography Jan 10, 2026 Full Review Faceless (2024) EDIT “Faceless is a great thriller that beautifully shows the destructive role the image can play within the societal field.” – Psychocinematography Jan 5, 2026 Full Review Lumberjack the Monster (2023) 60% EDIT “Lumberjack The Monster is a great example of a filmic experience that is helmed by a director that is uninvested in the narrative material of the story and, consequently, merely does his bare minimum. ” – Psychocinematography Dec 29, 2025 Full Review Godzilla Minus One (2023) 99% EDIT “Godzilla Minus One is not only a triumphant return of the most beloved Kaiju of all, but also a deeply emotional experience that re-assessing the themes of the original Godzilla in a refreshing way.” – Psychocinematography Dec 23, 2025 Full Review Exit 8 (2025) 97% EDIT “With Exit 8, Genki Kawamura delivers an engaging and visually arresting psychological horror narrative. ” – Psychocinematography Dec 18, 2025 Full Review Golden Kamuy (2024) 100% EDIT “With Golden Kamuy, Shigeaki Kubo reaffirms that he has the skill and talent to bring action-driven narratives to life in a satisfactorily way. ” – Psychocinematography Dec 18, 2025 Full Review Undead Lovers (2024) EDIT “Ai Mikami delivers a surprisingly layered performance as Rino Hasebe.” – Psychocinematography Dec 12, 2025 Full Review A Girl Named Ann (2024) EDIT “A Girl Named Ann offers the spectator one of most upsetting confrontations with the way the societal and familial Other can fail the subject.” – Psychocinematography Dec 8, 2025 Full Review Cloud (2024) 93% EDIT “With his thriller Cloud, Kurosawa delivers a biting critique of way capitalism and consumerism has transformed our subjectivity and the way we interact with others.” – Psychocinematography Dec 8, 2025 Full Review Renoir (2025) 87% EDIT “With Renoir, Chie Hayakawa delivers an incredible moving experience that succeeds in exploring the difficulty for the subject to deal with death and the loss it introduces.” – Psychocinematography Dec 3, 2025 Full Review Happyend (2024) 98% EDIT “HappyEnd is an incredible tour-de-force that hits home.” – Psychocinematography Nov 22, 2025 Full Review My Sunshine (2024) 88% EDIT “Okuyama charms the spectator with a visual fabric that elegantly emphasize the beauty in wintery landscapes as well as the warmth of human interactions. ” – Psychocinematography Nov 19, 2025 Full Review The Gesuidouz (2024) EDIT “The Gesuidouz offers the spectator a barrage of quirky twists and light-hearted absurdities.” – Psychocinematography Nov 13, 2025 Full Review Teki Cometh (2024) EDIT “Teki Cometh offers the spectator a vivid and mesmerising experience.” – Psychocinematography Nov 13, 2025 Full Review Evil Does Not Exist (2023) 91% EDIT “With Ryusuke Hamaguchi, Evil Does Not Exist offers a highly meditative exploration of the position of violence within the natural real and the human symbolic.” – Psychocinematography Nov 7, 2025 Full Review The Valiant Red Peony Part 2 (1968) EDIT “Norifumi Suzuki delivers with Red Peony Gambler: Gambler’s Obligation another Ninkyo classic.” – Psychocinematography Nov 4, 2025 Full Review The Young Strangers (2024) EDIT “Uchiyama delivers a masterpiece that does not merely grab the spectator by his throat, but confronts him with the fundamental importance of the signifier in a heartrending way.” – Psychocinematography Oct 28, 2025 Full Review The Harbor Lights (2025) EDIT “The subdued rhythm of the narrative is not only effective in making the many evocative images come to their full right, but also in confronting the spectator with the expressed emotions in a more direct way.” – Psychocinematography Oct 28, 2025 Full Review The Invisible Half (2025) EDIT “With The Invisible Half, Nishiyama promptly establishes himself as a new promising talent in the field of Japanese horror. ” – Psychocinematography Oct 27, 2025 Full Review Baka's Identity (2025) EDIT “Baka’s Identity offers the spectator a saddening but entertaining portrait of what the Japanese Other does not want anyone to see.” – Psychocinematography Oct 22, 2025 Full Review
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