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.
An engineer's wife returns home with a lost teenager. A man posing as her dad tries to get her back, causing the engineer to recall his youth as a revolutionary, obscured by dreamlike disruptions of time and space, fantasy and reality.
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
Ichiko Kamichika, one of the characters from the film, was an active politician in the '60s who threatened to sue director 'Yoshishige Yoshida' for violation of privacy should this film be released uncut (to avoid legal issues in the first place, her name in the film was changed to Itsuko Masaoka). Thus, Yoshida was forced to cut a number of scenes centered around her. For a long time, the shorter cut of the film was the only one available. See more »
Drunk upon the happiness of decadence, this film is a dialogue with you and I, the ambiguous participants in the erotica and revolutions of Sakae Osugi and Noe Ito, whose lives were dedicated to the beauty of chaos.
See more »
Yoshishige Yoshida's Masterpiece! A formal guide-line to understand the Japanese New Wave.
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 (+)."
9 of 14 people found this review helpful.
Was this review helpful to you?
| Report this