Yoshida’s second Shochiku assignment turned away from the studio’s dominant focus on troubled youth and generational conflict in order to paint a darker and more despairing portrait of society in a state of moral collapse.
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Sometimes forgotten, Yoshida was probably the biggest nihilist of the Nuberu Bagu. If Oshima could be linked to the rules of Confucianism and Imamura the carnivalesque celebration character of Shinto; Yoshida was the pure immaculate emptiness of Buddhism. His second take on a feature film doesn't show those empty spaces he will be known for later on his career, but its set of empty characters makes up for that.