High-rated movies with very few views. Suggestions are welcome.
Funeral Parade of Roses
In a Japanese version of "Oedipus Rex," a gay son murders his mother and sleeps with his father.
I cannot speak for every gender non-conforming person in the world; I can only speak for myself. Firstly, I use "gender non-conforming" simply because I don't know a better term for it. Secondly, every time I see a film like this, I am trapped between feeling like I've dodged a bullet, feeling like an imposter, feeling jealous, and feeling like there should be more in art and media than the dark side of trans-life.
The film is a complex mess of imagery, a menage of docudrama, Warholian observation, theatrical hyperbole, and Greek tragedy, all of which capture the drugs, prostitution, and dizzying nightlife of Japanese LGBT (mostly G & T) culture of the late sixties. Seeing the inherent violence, exclusion, and…
At this moment, I'm not sure how to cope with this as a piece of filmmaking, or how to describe its story. Instead, I'll be writing a personal review, sort of how this compliments my own life's narrative. Not used to doing this, so bear with me.
I suppose I would identify as bisexual or pansexual, but terms and labels are generally idiotic, and I prefer not to use them. I've known I'm not straight since sophomore year in high school, but only stopped suppressing these feelings and came out to people last year. In fact, this month it will be one year, I think. I am not out to family (was raised by devout Presbyterian parents), and not out…
With subliminal Warholian vignettes, fragments of cinematic hapax legomena (if such term could be applied to the film industry), assaulting psychosexual imagery, fragments of societal ridicule, jaw-dropping personifications, a fractured chronology, revolutionary techniques of film editing, a ghastly and hypnotic camera work and metafilm self-references, Bara no sôretsu is one of the most enthralling, unpredictable and thought-provoking avant-garde experiments that international celluloid has ever offered to mankind.
It starts with a statement:
"I am a wound and a sword, a victim and an executioner."
Then it proceeds with an alienating world beyond our comprehension. That is the first invitation you will ever receive to turn off your screen or leave the theater, because this nearly-metaphysical parade of memoir fragments and…
June Scavenger: 3/30
8. A Japanese New Wave Film
This is one that I was truly intimidated by for many years. On two other occasions I have attempted to watch it and both were interrupted by technical difficulties. I took this as a of sign that I wasn't ready for it. A bad/sometimes good- habit of mine is choosing to wait to watch a film at the exact moment I'm "supposed" to. I'll put off watching a film that I know will profoundly effect me for years. It has to be just right. Similarly, I do the same with reviewing. It's often easier to circle around peripheral thoughts than just finalize a serious summary on a film of…
" I am the wound and the Blade,both the torturer and he who is flayed "
Long before metal music and fight clubs started gathering buzz a counter culture of another kind was blossoming underground...Toshio Matsumoto delves into loneliness,ostracization,identity crisis,hallucinogenic trips brimming with carefree abandon,Oedipal undertones..He directs the scenes with utmost brutal honesty...
Stanley Kubrick was surely inspired by the restless energy,music and imagery whilst scripting A Clockwork Orange .. i bet even Park Chan-Wook took notes while making Oldboy!!!
As for the climax i am still in a state of shock and astonishment;literally my jaws dropped when i saw it...MUST MUST MUST WATCH!!!!!!!!!!!!!
"I wish the whole country would sink under water." - Eddie
Watching Toshio Matsumoto's Funeral Parade of Roses feels a bit like drowning. We are left to flail helplessly in a flood of scenes and images, tossed to and fro within the timeline of the film's underlying story. We sometimes find a brief respite in unexpected documentary-like inclusions that blur the line between fantasy and reality before being ultimately pulled under by the film's dark and jarring conclusion.
At the heart of the story are two transvestites: Leda, a bar madame, and Eddie, a young hostess. A refugee from a troubled and mysterious past, Eddie floats aimlessly through world of sex, drugs, and rock n roll while chumming it up…
The first time I ever saw this movie, I had never even heard of it. It is always a treasure to come across a true gem that is this much fun you've never heard of before. I have revisited a few times since and feel it is one more people should see.
This movie is long and drags on a bit, but it's filled with enough shocking and absurd moments to keep you interested. Plus, the use of actual gay/trans actors, and the use of actual interviews cut into the film, gives the film a certain weight to it which backs up a less compelling plot.
A towering and influential masterpiece of Japanese new wave cinema. Beautiful, politically-daring, heart-wrenching and exhilarating. And unbelievably, in 2016 we're dealing with bathroom access!
Like no other film I've seen in my life, and that's something good.
New Wave thingamajig that bounces abruptly between close-up erotica, premonitions of violence, meta-interviews with the cast, etc.—all of them stops along a noir tour through a Shinjuku-centered community of trans women. The fact that its dialogue namechecks Jonas Mekas, Che Guevara, and Jean Genet may give you some idea where director Toshio Matsumoto's formal and political allegiances lie. Don't blink, or you'll miss the instant when street-level journalism gives way to avant-garde theater. Transgressive jokes dangle from this hybrid edifice: girl fights are scored to a blithe calliope rendition of "The More We Get Together," and a recurring non sequitur reveals a row of naked butts, the last one in line clenching a rose stem. It's bawdy, brazen, bravura. One…
It would be doing this film a complete disservice to declare its value primarily through comparison to A CLOCKWORK ORANGE, but my god, Kubrick literally lifted scenes from this as if he was using the original camera negative. And not even the good ones!
That said, this is pretty remarkable, especially considering we still have films like THE DANISH GIRL 45 years afterwards. And heck, anything that makes Godard look like a rube is ok in my book.
Watched for Paul Roquet's Landscape and Japanese Cinema course at Brown University.
EDIT: ok holy shit this movie is incredible.
Over exposed bodies as white landscapes performing on the screen an image you are familiar with if you know these films so right away Matsumoto shows his skill as the white on white bodies open and close. Opening the iris of the soul between two bodies...Matsumoto examines the blossoming of culture obfuscating the dominating structures that permeate throughout the country as what is considered the status quo. The homosexual and transgender lifestyle emerging from the depths of constant repression like the rights for immigrants and minorities, woman and communists, in a new booming economy. The gay lifestyle challenges the reality of the status quo directly by altering self perception and ideas of gender (our extension of self) clearly taking off…
Transgressive, amusing, creative, and so many other things can be said about this gem. This one, along with Shura (Demons) are two incredible films that dozens of directors wish they had made. The casual interviews with the cast gives this a playful fun vibe, and those speed up sequences certainly look like they inspired a certain someone when making a certain Clockwork Orange film.
A challenging, radical, humorous, grotesque, and undeniably unique, Funeral Parade of Roses is an under discussed and quietly brilliant film. Mixing an incredibly loose reworking of Oedipus Rex, a slice of life drama about a group of trans women, and a documentary about what it's like to be a trans woman in late sixties Japan shouldn't flow as well as it does here, but it works. The acting is naturalistic and campy at the same time, while the film has a consistent energy that manages to mix the dramatic moments with the comedic ones seamlessly. I feel like some of the imagery in a few segments distract from the rest of the film, but other than that this is a vital film to the history of queer world cinema.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…