After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and... See full summary »
Two interwoven stories. The first is a biography of anarchist Sakae Osugi which follows his relationship with three women in the 1920s. The second centers around two 1960s' students researching Osugi's theories.
A man penetrates by night in a nurse dormitory planning to kill them all. While he accomplishes to his self imposed task thoughts and obsessions come to his mind revealing his love deficits... See full synopsis »
Near a remote Buddhist monastery, a young man falls in love with his sister and gets her pregnant. After a monk finds out, the young man becomes an assistant to a master sculptor, only to proceed to complicate matters with his affairs.
Haru, an aging scriptwriter, has isolated himself somewhere in the woods of Nagano to work on his first novel. As the last surviving member of his kin, he intends to chronicle the family he grew up in.
The movie is built around the very complex relationships between Yoshida, leaving Shimizu for Aihara (or at least he tries to), and his friend Ito, whose love for Yoshida seems to have ... See full summary »
Susumu Hani is one of the lesser known filmmakers connected with the movement of Japanese New Wave (nuberu bagu). This is a tragic movie about a teenage couple and their first love happening in a society that has fully embraced perversity and decadence.
Much like most other New Wave films, this one is filmed on a shoestring budget, but still offers a lot of ideas, experimental gimmicks, leit- motifs and strange events in general. There are a lot different short side stories, a lot. The girl in the mall selling records for the lonely, the influence of flashbacks on the main boy's characterization
some are presented naturally (such as the strange scene where he's in
a class that teaches people how to laugh), while some memories are revealed by force, such as the excellent scene where he's hypnotized.
Throughout the whole film, motifs, shots and lines are repeated. People talk all in the same moment or without opening their mouths at all. The personal side to Hani's film is the scene where a young classmate presents his short film, partially in color, about his first love. The music is a weird mix of children's songs, funky jazz, haunting chorus pieces and famous classical tunes. The camera is shaky and loose, with sudden outbursts of overexposure at times.
The movie deals with provocative subjects in an explicit manner; Hani criticises the erotic industry through a highly unsettling scene where two models perform bondage acts while horny photographers rapidly take pictures of them. There is also an element of children molestation, both in the hands of parents and strangers, which is surprisingly bold for a late sixties film. So I guess you could call it an exploitation flick. One weird scene in particular involves naked children walking around in a cemetery wearing tengu masks. God knows what that's about.
This movie is very weird, but also very forgettable. I've just finished seeing it and already I'm struggling to remember most of it. It's just your typical avantgarde experimental artsy '60s hippie flick - add a little social commentary, unconventional narratives and strange imagery, and that's it.
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