A documentary following Kenzo Okuzaki, a 62-year-old WW2 veteran notorious for his protests against Emperor Hirohito, as he tries to expose the needless executions of two Japanese soldiers during the war.
A taxi dancer (Rita Gomez) and taxi driver (Vic Vargas) are fished out of poverty and anonymity by a commercial film director (Eddie Garcia). The obsession with success forces them to ... See full summary »
In 1920s and 1930s New Zealand, Janet Frame grows up in a poor family with lots of brothers and sisters. Already at an early age she is different from the other kids. She gets an education ... See full summary »
"I do not care if we go down in history as barbarians." These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.
Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both ... See full summary »
In 1972, Miyuki tells her ex-lover Kazuo that she's going to Okinawa with their son. Kazuo decides to film her. He narrates his visits to her there: first while her flatmate is Sugako, a woman Miyuki is attracted to; then, while she works at a bar and is with Paul, an African-American soldier. Once, Kazuo brings his girlfriend, Sachiko. We see Miyuki with her son, with other bar girls, and with Sachiko. Miyuki, pregnant, returns to Tokyo and delivers a mixed-race child on her own with Kazuo and Sachiko filming. She joins a women's commune, talks about possibilities, enjoys motherhood, and is uninterested in a traditional family. Does the filmmaker have a point of view?Written by
I was fascinated by Kazuo Hara's THE EMPEROR'S NAKED ARMY MARCHES ON, so I thought I'd try of his earlier documentaries. In this one, he follows his ex-girlfriend Miyuki Takeda and their child to Okinawa where she bounces from a lesbian relationship to an interracial hetero relationship to a self-run day care facility and back to the mainland where she gives birth without medical assistance. Although Takeda is a fiercely independent, modernized woman and her relationship to the filmmaker provides some tense and compelling material, ultimately she's not nearly as engaging a subject as Okuzaki from NAKED ARMY. The most revealing aspects come from the interactions between Hara and Takeda, especially when he brings his new girlfriend into the picture! I also found the scenes of Takeda arguing with her nearly-silent girlfriend very interesting. However, there's a lot of "downtime" without much that's very compelling. The film is also plagued with technical problems... out-of-sync sound, a noisy camera, and the entire lengthy birth scene is out of focus (which Hara rightfully excuses because of his emotional state). This film might make a good companion piece to SHERMAN'S MARCH, although McElwee does a lot more to keep momentum going.
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