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is a Japanese black-and-white film released in 1969. It was directed by Yoshishige Yoshida, who wrote it in cooperation with Masahiro Yamada. It is the first film in Yoshida's trilogy of Japanese radicalism, followed by Heroic Purgatory (1970) and Coup d'Etat (1973). It is considered to be one of the most representative films from the Japanese New Wave movement, and often one of the finest Japanese films. David Desser named his book on the subject after ''Eros + Massacre''. The film touches upon many themes, such as free love, anarchism and the relationship between the past, the present and the future. Although the film is a biography of anarchist Sakae Ōsugi, Yoshida states that he didn't focus on Ōsugi as a historical character ''per se'', but rather on how reflecting on the present influences reflecting on the future. Like most of Yoshida's films, ''Eros + Massacre'' is characterized by the immense visual beauty, the appearance of the director's wife, actress Mariko Okada, and richness in psychological and historical complexities. ==Plot== The film is a biography of anarchist Sakae Ōsugi, who was assassinated by the Japanese military in 1923. The story tells of his relationship with three women: Hori Yasuko, his wife; Noe Itō, his third lover, who was to die with him; and his jealous, second lover, Masaoka Itsuko, a militant feminist who attempts to kill him in a tea house in 1916. Parallel to the telling of Ōsugi’s life, two students (Eiko and Wada) do research on the political theories and ideas of free love that he upheld. Some of the characters from the past and from the present meet and engage the themes of the film. The film begins with Eiko interviewing Noe Itō's daughter Mako in order to shed some light onto Noe's life. After that, we see a glimpse into Eiko and Wada's lives. Eiko believes in Ōsugi's principles of free love and the first time we meet her (after the cold opening), she's making love with a film director but gets interrupted by Wada, so later she finishes herself off by masturbating in the shower. She's also connected with an underground prostitution ring and is questioned by a police inspector. Meanwhile, Wada spends most of his time philosophizing with Eiko and playing with fire. The two sometimes engage in reenactments of lives of famous revolutionaries and martyrs. Their story is interwoven with the retelling of Ōsugi's later years and death. The scene where Itsuko tries to take Ōsugi's life is retold several times with differing results. The 1920s scenes in general follow a different pace than the 1960s scenes, both musically and stylistically. The story sometimes delves into surreal imagery, most notably the scene of two football teams playing a match over Ōsugi's ashes, or the segment where Eiko gets to interview Noe herself. In the film's final scene, Eiko's lover/film director commits suicide by hanging himself with a length of film. Eiko and Wada gather all of the 1920s characters and take a group picture of them. The two then leave the building. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Eros + Massacre」の詳細全文を読む スポンサード リンク
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