Eizō Yamagiwa

A omnibus movie consisting of the three parts: "Kechinbo", "Yowak" and "Kōshoku".

In a struggling small theater troupe, director Inuo pressures an actor to perform a death role with extreme intensity, resulting in a fatal accident. Despite the tragedy, Inuo attempts to proceed with the scheduled performance. Legendary underground theater performers Jūrō Kara and Mako Midori appear in the episode, exploring themes of theatre performance, obsession, and the boundary between reality and illusion.

A leading postwar Japanese film critic and theorist who co-founded the seminal film magazine Eiga Hihyo (Film Criticism) in 1957, Eizo Yamagiwa made his directorial debut with this independent feature—long thought lost until a negative was recently discovered—about a group of idle bourgeois students known as the “Roppongi Tribe” (Roppongi zoku). Depicting the resignation and nihilism of the postwar generation in the years following the Anpo Treaty conflicts through a coming-of-age narrative, Yamagiwa offers sharp criticism of the prevalent characterizations of Japan's new youth offered by Nikkatsu's taiyozoku (“Sun Tribe”) films and the New Wave at large.

No synopsis available yet.

A omnibus movie consisting of the three parts: "Kechinbo", "Yowak" and "Kōshoku".

In a struggling small theater troupe, director Inuo pressures an actor to perform a death role with extreme intensity, resulting in a fatal accident. Despite the tragedy, Inuo attempts to proceed with the scheduled performance. Legendary underground theater performers Jūrō Kara and Mako Midori appear in the episode, exploring themes of theatre performance, obsession, and the boundary between reality and illusion.

A leading postwar Japanese film critic and theorist who co-founded the seminal film magazine Eiga Hihyo (Film Criticism) in 1957, Eizo Yamagiwa made his directorial debut with this independent feature—long thought lost until a negative was recently discovered—about a group of idle bourgeois students known as the “Roppongi Tribe” (Roppongi zoku). Depicting the resignation and nihilism of the postwar generation in the years following the Anpo Treaty conflicts through a coming-of-age narrative, Yamagiwa offers sharp criticism of the prevalent characterizations of Japan's new youth offered by Nikkatsu's taiyozoku (“Sun Tribe”) films and the New Wave at large.

No synopsis available yet.