Yoko Ran

A girl named O loves a rich, and much older man. She is subjected to a variety of humiliating experiences to prove her unconditional obedience to him in a Chinese brothel. A poor boy sees her and falls in love with her. To get the money needed to sleep with her, he takes part in rebellious acts.

A director faces creative block while working on his latest film – a reimagination of his adolescence growing up in a mountain village in rural Japan.

In the midst of a match, Hayato, a successful boxer, has had enough of the sport. He lets himself get knocked out, and quits boxing, leaving his wife and living alone with his mangy dog. One day a young mediocre boxer knocks at the door and wants to be Hayato's apprentice.

Akira is haunted by a "bouncing ball" song that he remembers his mother singing when he was a small child, and now on the verge of a sexually active adulthood, he wants to find the origins of the song. The young man ostensibly wanders into a time-warp in which aspects from his childhood and adulthood mix together. In this never-never land he comes across a beautiful woman/witch who is lost inside the labyrinth of her mansion, just as the young man is lost in the labyrinth of time — and on some levels, perhaps the labyrinth of his subconscious.

A man claiming to be the heir of an estate in northern japan finds himself at the doors of his mansion, only to find it overrun by servants and maids playing pretend as master or mistress, while the real master is nowhere to be found. As he makes his way down the many rooms of the mansion and witnesses the staff's strange antics, he gradually loses his own role and sense of identity. In this subversive play performed by Tenjo Sajiki, the spectator is asked to question their own role as hierarchical structures are reversed and walls between character and actor, actor and audience gradually break down.

A “reading film” of delirious image and text, Les chants de Maldoror takes its title and inspiration from Comte de Lautréamont’s 1869 proto-Surrealist poetic novel which, for instance, describes beauty as the chance encounter of a sewing machine and an umbrella on an operating table. In the novel’s six cantos, a young misanthrope indulges in depraved and destructive acts. Unexpected encounters abound, with turtles and birds joining Terayama’s regular cast of snails and dogs to wander over books and bare torsos. Feverish video processing posterizes, inverts and overlays images that are further colored by sound—pushing the limits of his literary adaptation. Terayama wrote that the only tombstone he wanted was his words, but, as Les chants de Maldoror demonstrates, words need not be confined to carved monuments or bound hardcopies.

The film depicts the fatal, forbidden love between Nadeko, who is bought by a shop selling her mother, and her son-in-law, Jisumaru.

Shuji Terayama and J.A.Seazer's phantasmagoric folk-psych-symph-prog-rock opera. Historical Tenjo Sajiki performance from 1978.