DIARY OF A SHINJUKU THIEF
The ideal and pragmatic aspirations
of the student movement, their
questions about sex, the “situation
theatre” of Juro Kara, writings by Jean
Genet are a few of the ingredients of
this sketch (also from a formal point
of view) of Japan’s youth culture in ’68,
in particular the relationship between
sexual repression and arbitrary violence.
Nagisa Ōshima (Tamano, Japan, 1931 - Fujisawa, Japan, 2013) is considered one of the maestros of Japanese cinema. An exponent of “nuberu bagu,” his films depict the contradictions of Japanese society since WWII, in which growing materialism is flanked by strict observance of centuries-old rules, generating oxymorons and irresolvable conflicts. His most important films include Cruel Story (1960); The Sun’s Burial (1960); Night and Fog in Japan (1960); The Ceremony (1971); In the Realm of the Senses (1976), a true sensation because of its explicit sexual content; Empire of Passion (1978), which won Best Director at Cannes; and Merry Christmas Mr Lawrence (1983), which received a BAFTA for Best Score. His final film was Taboo (1999), presented in competition at Cannes. In 2009, the Torino Film Festival dedicated a complete retrospective to him.
Seishun zankoku monogatari (Racconto crudele della giovinezza, 1960), Taiyō no hakaba (Il cimitero del sole, 1960), Nihon no yoru to kiri (Notte e nebbia in Giappone, 1960), Etsuraku (Il godimento, 1965), Muri shinju: Nihon no natsu (Japanese Summer: Double Suicide, 1967), Koshikei (Death by Hanging, 1968), Gishiki (La cerimonia, 1971), Ai no korīda (Ecco l’impero dei sensi, 1976), Ai no bōrei (L’impero della passione, 1978), Merry Christmas Mr Lawrence (Furyo, 1983), Max mon amour (Max amore mio, 1986), Gohatto (Tabù - Gohatto, 1999).
director, film editing
interpreti e personaggi/
cast and characters
Tadanori Yoko (Torio
Okanoue), Rie Yokoyama
(Umeko Suzuki), Moichi
Tanabe (se stesso/Himself),
(se stesso/Himself), Kei
Sato (se stesso/Himself),
(se stesso/Himself), Juro
Kara (se stesso/Himself)