In this macabre farce, a Korean man is sentenced to death in Japan but survives his execution, sending the authorities into a panic about what to do next. At once disturbing and oddly amusing, Nagisa Ôshima’s constantly surprising film is a startlingly subversive and surreal political statement.
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Une façon absolue d' Oshima, de s'emparer du sujet, ici la peine de mort, pour le transcender . Ce qui commence comme une enquête de documentaire se termine dans un onirisme prodigieux. Il nous livre sa vérité précieuse philosophique amoureuse et politique sur les hommes, l'état et l'histoire japonaise. Et tout devient universel. dans une virtuosité de mise en scène époustouflante, images et acteurs sublimes
The punitive & theological casuistry's abstract lungs achieve pleural warmth in Oshima's film like a Galatea roused from the mineral and calcified cold of theory to the mercurial jaggedness of life, and it is striking the degree to which canonical and secular procedures use consciousness as mere expedient and validation stamp: before the condemnation, the soul's expected to internalize the guilt and scouring grief of
I disagree with people who don't like the 2nd hour as much as the 1st (as good as it is). It's one of the best mixes of political polemic and absurdist film I've come across. It's a lot funnier than the title/subject matter would infer, in its satire of the death penalty, institutions, morality, nationalism, racism and self interest. The last half hour is strangely moving. MASTERPIECE.
The ever pigeonhole-resistant Nagisa Oshima offers up a mother-of-all-social-issue-pictures type deal here. He is very volubly interrogating Japan's then-current popular support of capital punishment as well as its treatment of Koreans (an ongoing bête noire of his). But this ain't no lecture. It's an indelicate though bravely open public hearing. A bad trip. Many will invoke Kafka. Well, no shit!