Delirium of modern cinema. In the fast format of a short, a clear demonstration of the extraordinary modernity of Japanese cinema of the 60s, visual forms with/against sound, image-time distended concomitantly with a timeless sound-image, concrete, composed of voice-over, dissonant sounds, crafted music. There's some Antonioni's dramaturgical glimpses (Il Deserto Rosso), in a film that overcomes and distorts it.
i love teshigahara, but the moment i heard 'anywhere's fine as long as it's far away' my hatred was complete. smug baby boomer guys and dolls shit at its worst. almost as annoying as crazed fruit. gross.