CLASSICS
Provocation and Disruption
Radical Japanese Filmmaking from the 1960s to the 2000s
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About The Japanese Film Festival (JFF) in Australia is an annual film festival that has been presented by The Japan Foundation, Sydney since 1997. It is one of a number of international Japanese Film Festivals established by The Japan Foundation with the aim of supporting and growing interest in Japanese films and cinema culture throughout the world. 2020 marks the 24th year of JFF Australia, and this year’s Festival includes three programs: Classics, which offers rare 35 and 16mm film screenings for free, Satellite, which tours a hand-picked selection of free films across Australia, and JFF Plus, a brand-new online program for 2020 offering the best of contemporary Japanese cinema.
Venue Partners
Partners
JFF Program Director Yurika Sugie JFF Programmers Susan Bui, Simonne Goran, Anne Lee and Aurora Newton Presented by
@japanesefilmfest @japanfilmfest #jffau2020 japanesefilmfestival.net
Design kevinvo.com.au
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Classics 2020 Provocation and Disruption: Radical Japanese Filmmaking from the 1960s to the 2000s This year’s program celebrates boundary-shattering films through Japanese cinematic history, notoriously recognised for their offbeat, rebellious and eye-opening qualities. With a spotlight on some of Japan’s leading experimental filmmakers working within the zeitgeist of their time, this series presents the visually audacious and sonically shocking—from Japanese New Wave and avant-garde activity during the 1960s and 1970s to gritty cyberpunk and brilliant psychedelic expressions of the late 1980s and early 2000s.
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Provocation and Disruption is all about the poetic, the abstract, the visceral and the abrasive in visionary Japanese cinema. The selection broadly encapsulates films that were fiercely uncompromising and transcended convention, each leaving its unique mark on Japan’s film industry. In their own distinct way, these prolific cinematic works eschew traditional narrative structures and genre tropes to embrace distortion and symbolism. From dynamic and provocative colour, editing and camera work to themes of social, political and sexual ferment, these films are nothing like you’ve seen before. This free Classics program is part of the annual Japanese Film Festival presented by The Japan Foundation, Sydney and made possible by The Japan Foundation Film Library.
Funeral Parade of Roses
薔薇の葬列
Director: Toshio Matsumoto 1969 • 105mins • 16mm • B&W UNCL: Suitable for 18+ (Contains violence and sexual references)
“What a mix of cruelty and laughter it is!” By branching out of his documentary career, experimental director Toshio Matsumoto produced his most revered work—the intoxicating and surreal debut feature that is Funeral Parade of Roses. A subversive take on the Greek tragedy Oedipus, the film follows Eddie (played by queer icon Shinnosuke Ikehata aka Peter, who later won critical acclaim in Akira Kurosawa’s Ran), a notorious hostess and rising star of a queer nightclub in Tokyo’s underground scene. Eddie is passionately enveloped in destructive intimacy and a violently jealous love triangle, and as a result is confronted with traumatic childhood memories. This all comes to a head with the film’s dizzying climax—fueled by a whirlwind of drugs, sex, music and undeniably fabulous glamour. Matsumoto splices narrative with documentary-style interviews alongside arthouse, avant-garde and brechtian performance devices, all the while confronting the then taboo subjects of gender and sexuality head on. Catch a rare glimpse into the queer community of 1960s Japan through this visual and sonic cacophony of Japanese New Wave cinema.
Talk Event
Queer & Transgender Visibility in Cinema 20 February 16:00-16:40
Art Gallery of NSW
Join us for a post-film discussion with special guests in a talk focused around queer identity and non-conformative gender representation in cinema. This discussion will also delve into how these topics are reflected in Funeral Parade of Roses and why this film is still relevant today. Speakers Maija Howe (moderator) Senior Lecturer, Creative Practice at AFTRS
Bhenji Ra
Performance and interdisciplinary artist
Jen Atherton
Independent filmmaker, programmer and FBi Radio host
Charlotte Mars
Filmmaker, producer
© 1969 Matsumoto Production
DRAMA
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House
ハウス
Director: Nobuhiko Ōbayashi 1977 • 88mins • 16mm • colour UNCL: Suitable for 15+ (Contains mild violence and nudity)
A doomed summer vacation, a flesheating house and a feline familiar House is a fusillade on the brain cells and a smorgasbord of filmic delights, which is apt given that it’s about a house that devours schoolgirls. Described as ‘unhinged extreme’, House (aka Hausu) is an experimental horror film that amalgamates 1970s pop culture with mysterious phenomenology. The late auteur Nobuhiko Ōbayashi had his 11-year-old daughter help with many of the story ideas, lending to the film’s dreamy, phantasmagorical sensibilities. House employs unrealistic special effects, stylised sets, and a storyline where literally anything can happen to a group of teenyboppers vacationing at a mysterious aunt’s mansion for the summer. As the bizarre narrative unfolds, outlandishly gruesome attacks on the girls occur in rapid succession—all closely observed by the pet cat. House was Ōbayashi’s first feature film after he pioneered Japanese experimental shorts through the 1960s. Along with his background in commercials, the filmmaker’s spirit of radical invention diverged dramatically from Japanese filmmaking at the time, leading to the film’s cult status. © 1977 Toho Co., Ltd.
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HORROR
Emotion (That Dracula We Once Knew)
Emotion 伝説の午後＝いつか見たドラキュラ Director: Nobuhiko Ōbayashi 1967 • 40mins • 16mm • colour UNCL: Suitable for 15+ (Contains mild violence and sexual references)
Sun-kissed youth, a love triangle and a vampire Opening with a dedication to Roger Vadim’s Blood and Roses, Emotion intersperses slow-motion cuts and colour filters with voiceovers featuring selective English translations by Japanese film scholar Donald Richie, offering a topsyturvy slice of nostalgia-tinted youth. The dreamlike world of this experimental short film from the late Nobuhiko Ōbayashi depicts a young girl named Emi who moves from her seaside home to the city. There, she befriends a girl named Sari, and the two enjoy sunkissed, youthful days together until both Emi and Sari fall in love with the same man, leading one to turn her jealous desire toward an enigmatic vampire played by Ōbayashi himself. But for this surreal short film, the plot takes a back seat to a cross-genre hotchpotch of cinematic styles and techniques in mesmerising succession. From a vampire drinking blood out of a straw to John Wayne-style shootouts, Emotion showcases Ōbayashi’s avantgarde techniques and a whimsical style that would later capture the hearts of horror fans with his cult hit House. © PSC © PSC
FANTASY
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Diary of a Shinjuku Thief
新宿泥棒日記
Director: Nagisa Ōshima 1969 • 96mins • 35mm • B&W and colour UNCL: Suitable for 15+ (Contains nudity, sexual violence and references)
“Without sexual freedom, humans will never be free...” Diary of a Shinjuku Thief is a chaotic film that responds to the sexual revolution, radical student movements and social upheaval in Japan during the late 1960s. The ambiguous narrative centres on a man who calls himself Birdie (played by artist Tadanori Yokoo) who steals from a Kinokuniya bookstore in Shinjuku. Sparks fly when a woman named Umeko (Rie Yokoyama), seemingly an employee, catches Birdie in the act and forces him to face the consequences. What follows is a deep dive into repressed desires, female sexual rebellion, and petty theft as the young lovers attempt to free themselves from the trappings of previous generations and paternal social constructs. Leaping between episodic moments that break down traditions of fiction and reality, the two finally reach ecstasy amidst the intersection of a youth revolt and an experimental theatre troupe. One of cinema’s great provocateurs, Nagisa Ōshima employs a unique cinematic vocabulary, shifting abruptly from black and white to colour, and meshing naturalistic acting, theatrical intermezzos and cinéma vérité techniques. 8
© Oshima Productions
DRAMA
Pistol Opera
ピストルオペラ Director: Seijun Suzuki 2001 • 112mins • 35mm • colour UNCL: Suitable for 15+ (Contains mild violence and sexual references)
“Dogs follow masters, but I’m a stray cat.” The beautiful and deadly Stray Cat is ranked number three in The Guild, an underground organisation of assassins. Though she doesn’t know who the leaders and members are or even if the organisation actually exists, she is issued assignments by a mysterious woman named Sayoko Uekyō who functions as the intermediary between The Guild and Stray Cat. When Sayoko assigns her a new target, The Guild’s number one assassin, Hundred Eyes, Stray Cat’s hunger for power and status wins out and she embarks on a hunt to claw her way to the top, stylishly defeating every assassin in her way. Thirty years after his controversial Branded to Kill, master filmmaker Seijun Suzuki returns with the stylish and stunning sequel-yet-not-quite-a-sequel Pistol Opera—a celebration of Suzuki’s signature style, complete with outlandish yet tight storylines, offbeat editing, lavish colour and over-the-top action. 2002 Brisbane International Film Festival, Winner, FIPRESCI Prize - Seijun Suzuki © 2001 Pistol Opera Film Partners
ACTION
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Tetsuo: The Iron Man
鉄男
Director: Shinya Tsukamoto 1989 • 67mins • 35mm • B&W UNCL: Suitable for 18+ (Contains high impact gore, violence, and sexual themes)
Man and metal collide over a gritty industrial electronica score Marked as director Shinya Tsukamoto’s (Killing; JFF 2018) breakout film, Tetsuo: The Iron Man tells a horrific visceral story of the relationship between humanity and technology. Metal Fetishist, a strange contagious man with a compulsion for stuffing metal into his body, is on a mission to get back at Salary Man and his girlfriend for running him over with their car. After the accident, Salary Man starts sprouting metal parts from his body, slowly evolving into a hybrid technoman with a telepathic connection to the man he thought he had killed. Unbeknownst to Salary Man, his nemesis Metal Fetishist is controlling his lurid, hell-like transformation and will soon be back to exact his revenge. Shot on grainy black and white 16mm film, Tetsuo: The Iron Man is a grotesque audio-visual experience that can be likened to an hour long music video sprinkled with stop-motion animation techniques and sound effects that get under your skin. 1989 Fantafestival, Winner, Best Film - Shinya Tsukamoto 1998 Sweden Fantastic Film Festival, Winner, Audience Award - Shinya Tsukamoto
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© SHINYA TSUKAMOTO / KAIJYU THEATER
HORROR
Eros + Massacre
エロス＋虐殺
Director: Yoshishige Yoshida 1969-1970 • 167mins • 16mm • B&W UNCL: Suitable for 15+ (Contains violence and sexual references)
Anarchy, free love and socio-political unrest during 1910s and 1960s Japan This biopic follows the life of Sakae Ōsugi, a Taishō Era (1912-1926) anarchist known as a proponent of sexual freedom and for living the ideals he preaches. His three lovers aren’t all as enamoured with his flouting of the customary monogamous sexual mores of the time, which, when combined with his detractors’ distaste for his non-traditional lifestyle, leads to his tragic downfall after the Great Kantō Earthquake in 1923. Ōsugi’s story intertwines with that of Eiko, a 1960s university student who sympathises with Ōsugi’s anarchical philosophies on free love and radicalism. Director Yoshishige Yoshida’s quintessential arthouse film, Eros + Massacre examines the political and romantic radicalism of Japan in the 1910s and 1960s through non-linear, parallel storytelling. Similar to many Japanese New Wave films, its true brilliance shines through within the context of the social and political issues of the time. Nonetheless, the film stands on its own as an exquisite masterpiece of cinematography with an indulgent, ravishing style. © 1970 Gendai Eiga Sha
DRAMA
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Mind Game
マインド・ゲーム Director: Masaaki Yuasa 2004 • 103mins • 35mm • colour animation R18+ (Contains strong themes, violence and sexual references)
A psychedelic and surreal feast for the eyes Robin Nishi is a 20-year-old with little going for him besides his dream of becoming a manga artist. One day, he runs into his childhood crush Myon and begins to reminisce about what could have been, but his sad life is cut tragically short when he is shot and killed by a yakuza loan shark. Instead of moving on to the great beyond, Nishi’s death gives him a fresh perspective and a new lease on life. What ensues is a psychedelic comedy road trip that takes Nishi and Myon inside the belly of a gigantic whale, with uncanny sequences and montages offering insight into the background of the various characters. Mind Game is the directorial debut from Masaaki Yuasa, introducing his surreal, unconventional style and distinct colour palettes to viewers around the world. His artistry shines in his presentation of complex themes through unique visuals, which set the stage for his future feature films. © 2004 MIND GAME Project
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ANIME
Venues and Booking Information
Dates and Venues Canberra
Brisbane
Sydney
05–06 December 2020
08–27 January 2021
06 February– 03 March 2021
National Film & Sounds Archive
Queensland Gallery of Modern Art
Art Gallery of NSW
Open during JFF one hour before the first film screening of each day.
Doors to the cinema will open 30 minutes before each film screening.
Open during JFF one hour before the first film screening of each day.
(02) 6248 2000
(07) 3840 7303
(02) 9225 1744
McCoy Circuit Acton ACT
Art Gallery Road Sydney NSW
Stanley Place South Brisbane QLD
Book Your Tickets
Festival Enquiries
Free Admission Reserve Your Tickets japanesefilmfestival.net
The Japan Foundation, Sydney (02) 8239 0055 japanesefilmfestival@jpf.org.au
Schedule
National Film and Sound Archive
Canberra 05–06 December Date
Time
English Title
Japanese Title
Genre
05 Dec • Sat
18:00
Emotion (That Dracula We Once Knew)
Emotion 伝説の午後＝いつか見たﾄﾞラキュラ
FANTASY
House
ハウス
HORROR
マインド・ゲーム
ANIME
05 Dec • Sat
19:00
06 Dec • Sun 12:00 06 Dec • Sun 14:15
Funeral Parade of Roses
Mind Game
薔薇の葬列
DRAMA
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Schedule
Queensland Gallery of Modern Art
Brisbane 08–27 January 2021 Date
Time
08 Jan • Fri 08 Jan • Fri 09 Jan • Sat
09 Jan • Sat
English Title
Japanese Title
18:00
House
ハウス
20:15
Mind Game
マインド・ゲーム
ANIME
12:45
Emotion (That Dracula We Once Knew)
Emotion 伝説の午後＝いつか見たﾄﾞラキュラ
FANTASY
14:15
10 Jan • Sun 12:30 10 Jan • Sun 15:00 13 Jan • Wed 18:00
Eros + Massacre
エロス＋虐殺 マインド・ゲーム
ANIME HORROR
Emotion (That Dracula We Once Knew)
Emotion 伝説の午後＝いつか見たﾄﾞラキュラ
FANTASY
13:00
Diary of a Shinjuku Thief
新宿泥棒日記
15:30
Tetsuo: The Iron Man
鉄男
20 Jan • Wed 18:00
Tetsuo: The Iron Man
鉄男
16 Jan • Sat
20 Jan • Wed 20:00 23 Jan • Sat 23 Jan • Sat
12:30 15:00
27 Jan • Wed 18:00 27 Jan • Wed 20:30
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DRAMA
ハウス
エロス＋虐殺
16 Jan • Sat
HORROR
House
Mind Game
Eros + Massacre
13 Jan • Wed 19:30
Genre
Diary of a Shinjuku Thief
新宿泥棒日記
Funeral Parade of Roses
薔薇の葬列
Pistol Opera
ピストルオペラ
Funeral Parade of Roses
薔薇の葬列
Pistol Opera
ピストルオペラ
DRAMA DRAMA
HORROR HORROR DRAMA DRAMA
ACTION DRAMA
ACTION
Schedule
Art Gallery of NSW
Sydney 06 February–03 March 2021 Date
Time
06 Feb • Sat
14:00
07 Feb • Sun 14:00 10 Feb • Wed 14:00 10 Feb • Wed 19:15
English Title
Japanese Title
House
ハウス
Mind Game
マインド・ゲーム
Genre HORROR
ANIME
Eros + Massacre
エロス＋虐殺
DRAMA
Emotion (That Dracula We Once Knew)
Emotion 伝説の午後＝いつか見たﾄﾞラキュラ
FANTASY
Eros + Massacre
エロス＋虐殺
14 Feb • Sun 14:00
Emotion (That Dracula We Once Knew)
Emotion 伝説の午後＝いつか見たﾄﾞラキュラ
FANTASY
17 Feb • Wed 14:00
Mind Game
マインド・ゲーム
ANIME
13 Feb • Sat
14:00
17 Feb • Wed 19:15
House
ハウス
DRAMA
HORROR
Funeral Parade of Roses
薔薇の葬列
21 Feb • Sun 14:00
Pistol Opera
ピストルオペラ
ACTION
新宿泥棒日記
DRAMA
20 Feb • Sat
14:00
24 Feb • Wed 14:00
Diary of a Shinjuku Thief
24 Feb • Wed 19:15
Tetsuo: The Iron Man
鉄男
27 Feb • Sat
Diary of a Shinjuku Thief
新宿泥棒日記
14:00
28 Feb • Sun 14:00 03 Mar • Wed 14:00
03 Mar • Wed 19:15
Tetsuo: The Iron Man Pistol Opera
Funeral Parade of Roses
鉄男 ピストルオペラ
薔薇の葬列
DRAMA
HORROR DRAMA HORROR ACTION DRAMA
Special Event All films are in Japanese with English subtitles. Schedules may be subject to change.
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