this was too surreal for my personal tastes. i did appreciate the cinematography and a few of the ideas. i went into this completely blind so maybe i just wasn't ready for this. 
the thing that really put me off the most, was the couple of extremely graphic, long, and, imo, out of place rape scenes. i do think that it's possible to portray rape within film in a manner that is purposeful and not offensive. however, in this film, i couldn't figure out how these scenes provided anything positive to the film no matter how much i tried to think about it. it truly felt unnecessary. maybe if for whatever reason i end up revisiting this a few years into the future, i'll be better prepared to take in the surreal nature of this film.

this was too surreal for my personal tastes. i did appreciate the cinematography and a few of the ideas. i went into this completely blind so maybe i just wasn't ready for this. 
the thing that really put me off the most, was the couple of extremely graphic, long, and, imo, out of place rape scenes. i do think that it's possible to portray rape within film in a manner that is purposeful and not offensive. however, in this film, i couldn't figure out how these scenes provided anything positive to the film no matter how much i tried to think about it. it truly felt unnecessary. maybe if for whatever reason i end up revisiting this a few years into the future, i'll be better prepared to take in the surreal nature of this film.

Good ol’ 70s Japanese surrealism in response to sociopolitical issues

Good ol’ 70s Japanese surrealism in response to sociopolitical issues

Felt like a well-shot student film made by some communist bros

Felt like a well-shot student film made by some communist bros

Felt like a well-shot student film made by some communist bros

Felt like a well-shot student film made by some communist bros

Perhaps the closest I’ve seen a film come to capturing the feeling of a surreal dream. Ōshima is no stranger to conveying the feeling (and I doubt other Japanese New Wave directors would either) but this film was able to convey the feeling of confused understanding. That being knowing what has happened but perhaps not grasping the totality of the occurrence, like looking through a hazy mirror back at yourself. As dreams often feel (for me at least). 

A very cyclical film, I saw described as a möbius strip folding back onto itself (which I feel that its use in popular culture may convey an idea of time travel, an idea I don’t agree with when it comes to this film). One that may demand a rewatch. 

Masterclass in shot composition from Ōshima as expected and another time Takemitsu delivers a stellar score of music and ambient and surreal sound. Up there with his scores for Face of Another and Antonio Gaudí as his most interesting and enthralling for me. (At this moment). 

But yeah, not an easy watch but worth it if you’re interested in surreal, non-traditional, Japanese New Wave flicks.

Perhaps the closest I’ve seen a film come to capturing the feeling of a surreal dream. Ōshima is no stranger to conveying the feeling (and I doubt other Japanese New Wave directors would either) but this film was able to convey the feeling of confused understanding. That being knowing what has happened but perhaps not grasping the totality of the occurrence, like looking through a hazy mirror back at yourself. As dreams often feel (for me at least). 

A very cyclical film, I saw described as a möbius strip folding back onto itself (which I feel that its use in popular culture may convey an idea of time travel, an idea I don’t agree with when it comes to this film). One that may demand a rewatch. 

Masterclass in shot composition from Ōshima as expected and another time Takemitsu delivers a stellar score of music and ambient and surreal sound. Up there with his scores for Face of Another and Antonio Gaudí as his most interesting and enthralling for me. (At this moment). 

But yeah, not an easy watch but worth it if you’re interested in surreal, non-traditional, Japanese New Wave flicks.