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