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Eros Plus Massacre (1969)
"Erosu purasu Gyakusatsu" (original title)

8.4
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In the 1920s, the anarchist revolutionary Sakae Osugi is financially supported by his wife, journalist Itsuko Masaoka. He spends his time doing nothing but philosophizing about political ... See full summary »

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Title: Eros Plus Massacre (1969)

Eros Plus Massacre (1969) on IMDb 8.4/10

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Cast

Credited cast:
Mariko Okada ...
Noe Ito
Toshiyuki Hosokawa ...
Sakae Osugi
Yûko Kusunoki ...
Itsuko Masaoka
Kazuko Inano ...
Akiko Hiraga
Etsushi Takahashi ...
Jun Tsuji
Daijirô Harada ...
Wada
Rest of cast listed alphabetically:
Yoshihide Gotô
Toshiko Inoue
Kikuo Kaneuchi
Kyûzô Kawabe
Katsuya Kobayashi
Kazuko Kui
Kinji Matsueda
Kazunori Miyazaki
Atsuko Murata
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Storyline

In the 1920s, the anarchist revolutionary Sakae Osugi is financially supported by his wife, journalist Itsuko Masaoka. He spends his time doing nothing but philosophizing about political systems and free love and visiting with his lovers Yasuko and the earlier feminist Noe Ito. He conveniently defends three principles for a relationship between a man and a woman: they should be financially independent (despite the fact that he is not); they should live in different places; and they should be free to have sex with other people. In 1969, twenty-year-old student, Eiko Sokuta is sexually active with various men. Her friend, Wada, is obsessed with fire and they usually play odd games using a camera while they read about Osugi and Ito. Written by Claudio Carvalho, Rio de Janeiro, Brazil

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Details

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Release Date:

14 March 1970 (Japan)  »

Also Known As:

Eros plus massacre  »

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Aspect Ratio:

2.35 : 1
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Connections

Referenced in 100 Years of Japanese Cinema (1995) See more »

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User Reviews

 
Yoshishige Yoshida's Masterpiece! A formal guide-line to understand the Japanese New Wave.
21 April 2008 | by (Portugal) – See all my reviews

This one, plus Oshima's Koshikei (Death by Hanging, 1968), Matsumoto's Bara no Soretsu (Funeral Parade of Roses, 1969), Shinoda's Shinjû: Ten no amijima (Double Suicide, 1969) and Terayama's Den'en ni shisu (Pastoral : to Die in the Country, 1974), are maybe the great accomplishments of the Japanese New Wave. Here, Yoshida starts the last political trilogy about Japanese Past and Present (Eros plus Massacre, Heroic Purgatory and Coup D'etat) using a distinctive aesthetics proving that his Cinema contains some sort of a Metamorfosical ethic.

In fact, the movie builds an omnipresent dialectic between spectator and characters. History and Symbolic Representation. According to Pascal BONITZER, the "plus" of the tittle is a metonymy for the movie relation and revelation: "You must play too, because you can't dominate it. You must attach, dis-attach, and transform one and another: «Eros» and «Massacre». The spectator is the local of application. The spectator is the plus (+)."


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one of the best japanese movie of the '60s? garysan
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