Eclipse Series 21: Oshima's Outlaw Sixties (The Criterion Collection)

Often called the Godard of the East, Japanese director Nagisa Oshima was one of the most provocative film artists of the twentieth century, and his works challenged and shocked the cinematic world for decades. Following his rise to prominence at Shochiku, Oshima struck out to form his own production company, Sozo-sha, in the early sixties. That move ushered in the prolific period of his career that gave birth to the five films collected here. Unsurprisingly, this studio renegade was fascinated by stories of outsidersserial killers, rabid hedonists, and stowaway misfits are just some of the social castoffs youll meet in these audacious, cerebral entries in the New Wave surge that made Japan a hub of truly daredevil moviemaking. Pleasures of the Flesh Nagisa Oshima, 1965 A corrupt businessman blackmails the lovelorn reprobate Atsushi into watching over his suitcase full of embezzled cash while he serves a jail sentence. Rather than wait for the man to retrieve his money, however, Atsushi decides to spend it all in one libidinous rush. Violence at Noon Nagisa Oshima, 1966 Containing more than two thousand cuts and a wealth of inventive widescreen compositions, this coolly fragmented character study is a mesmerizing investigation of criminality and social decay. Sing a Song of Sex Nagisa Oshima, 1967 Four sexually hungry high school students prepare for their university entrance exams in Oshimas hypnotic, free-form depiction of generational political apathy, featuring stunning color cinematography. Japanese Summer: Double Suicide Nagisa Oshima, 1967 A sex-obsessed young woman, a suicidal man she meets on the street, a gun-crazy wannabe gangsterthese are just three of the irrational, oddball anarchists trapped in an underground hideaway in Oshimas devilish, absurdist film. Three Resurrected Drunkards Nagisa Oshima, 1968 A trio of bumbling young men frolic at the beach. While they swim, their clothes are stolen and replaced with new outfits. Donning these, they are mistaken for undocumented Koreans and end up on the run from comically outraged authorities.