Shoji runs a store in a desolate town in northern Japan. After the death of his wife, he longs to end his life so that his daughter will receive his life insurance money. But suicide is not covered by his contract, so he seeks help and meets Saki, who is also suicidal. Yoshitaka Kamada raises profound questions about life, death, and the importance of humanity.
Yasuo (Hiroshi Abe) grew up as an orphan. He married a woman he loved and they had a son Akira (later played by Takumi Kitamura). Yasuo's life seemed great at the time, but his life totally changed after his wife died in accident. Since that time, Yasuo, who never experienced parents' love himself, has to raise his son Akira alone.
Masao Adachi, the author and director of experimental works and pinku-eiga in the 1960s, was a member of the Japanese New Left that shifted from being a filmmaker to a guerrilla fighter. In 1974, he joined the Japanese Red Army in Lebanon, which worked closely with the Popular Front for the Liberation of Palestine. Filmmaker Lutz Dammbeck met Adachi in Tokyo in 2018 and talked with him about a wide range of topics, including art, revolution, the influence of western avant-garde art and American underground; the Japanese Red Army; collaboration with secret services; the role of the Left after 1968; and the reasons for failures of leftist ideas and strategies.
Questioning the meaning of people's lives, the multiple stories include the work of a manga artist, old men get involved in a fight and a murder, a bus incident which affects those who survive it, fishing, cherry-blossom viewing and more
The late Fujio Akatsuka is revered by many Japanese artists and scholars for his developments to early comedy manga, but his contributions aren't just limited to the world of print media. Featuring commentary from family, friends, colleagues, and celebrity fans, Fujio Akatsuka's story is told with archival footage and animation, showcasing the life of the man who went beyond manga.
The first in a planned series of films about radical filmmakers by film critic Nicole Brenez and filmmaker Philippe Grandrieux, It May Be That Beauty Has Strengthened Our Resolve is a portrait of Masao Adachi, who emerged during the Japanese New Wave of the 1960s as a screenwriter for Nagisa Oshima and Koji Wakamatsu, and directed a series of avant-garde films that grafted radical politics to the sexploitation genre. A 1971 visit to a Popular Front for the Liberation of Palestine (PFLP) training camp while on the way back from Cannes resulted in Adachi's most infamous film, the agit-prop documentary Red Army/PFLP: Declaration of World War, which he co-directed with Wakamatsu. Soon after, Adachi joined a splinter cell of the Japanese Red Army in Lebanon, where he stayed from 1974 until he was deported to Japan in 1997 to serve time for passport violations.
Masao Adachi (足立正生 Adachi Masao, born May 13, 1939) is a Japanese screenwriter and director who was most active in the 1960s and 1970s.
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