A surreal, isolated village sees its inhabitants gradually leave behind their mutual traditions and superstitions as they leave for the city. Among them are two cousins who love each other and who get into a quarrel with other villagers.

Farewell.to.the.Ark.1984.BDRIP.576p.x264.FLAC.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 7 min
Size: 	2.94 GiB
Video
Codec: 	x264
Resolution: 	956x576 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.227
Audio
#1:  	Japanese 1.0ch FLAC @ 303 kb/s

https://nitro.download/view/53ACB550803D4F2/Farewell.to.the.Ark.1984.BDRIP.576p.x264.FLAC.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Shûji Terayama – Saraba hakobune AKA Farewell to the Ark (1984) first appeared on Cinema of the World.

Quote:
This remarkable compilation follows an exchange of video letters that took place between Shuji Terayama and Shuntaro Tanikawa in the months immediately preceding Terayama’s death. It can be thought of as a home video produced by two preeminent poets and inter-laid with highly abstract philosophizing, slightly aberrant behavior and occasionally flamboyant visuals.

Video Letter.mkv

General
Container:  	Matroska
Runtime: 	1 h 14 min
Size: 	1.29 GiB
Video
Codec: 	x264
Resolution: 	696x474 ~> 696x522
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	2 204 kb/s
BPP: 	0.279
Audio
#1:  	Japanese 2.0ch AC-3 @ 256 kb/s

https://nitro.download/view/BBEDB00D7520A5C/Video_Letter.mkv

Language(s):Japanese
Subtitles:English, French

The post Shuntarô Tanikawa & Shûji Terayama – Video Letter (1983) first appeared on Cinema of the World.

Shuji Terayama and J.A.Seazer’s phantasmagoric folk-psych-symph-prog-rock opera. Historical Tenjo Sajiki performance from 1978. A brief synopsis (for a somewhat different version of the play) is given below. Much of the symbolism of Shintokumaru is shared with Terayama’s earlier masterpiece motion picture Pastoral: to die in the country (also known as Pastoral hide-and-seek).

Quote:
In a crowded thoroughfare, Shintoku-Maru searches for memories of his late mother, whose picture he carries in his pocket. His father, bereft without a wife, decides to purchase a new mother for his family.

From a group of travelling players who have fallen on hard times, he chooses Nadeshiko. Shintoku is immediately attracted to her. With her own son, Sensaku, they all make a home together. However, Shintoku rejects his step-mother and the aging father refuses to treat her as his wife. Nadeshiko realizes she has been married only to provide domestic stability.

The family play a game of cards, in which he who collects a complete family (father, mother and children) is the winner. Thinking he is being deliberately ignored, Shintoku surrepititiously withholds the ‘mother’ cards and leaves with them.

Nadeshiko goes to look for him and finds him playing with a long-horned beetle (in Japanese superstition, long-horn beetles were supposed to cut off women’s hair). When she tries to comfort him in a motherly way, he rejects her and the pent-up anger between them explodes.

Shintoku meets a mask seller, who tells him that although he does not have a mask of his mother, he will lend him some magic: a black hole through which he can travel anywhere.

Shintoku travels to the underworld in search of his mother. There he finds many mothers looking for their children. Ships come and go with cargos of the dead, and the mothers grieve for the untimely deaths of their children. Shintoku longs to see his mother again, who, he reveals, died saving him from their burning home when he was a small boy. Suddenly his step-mother Nadeshiko appears and this seeming heaven turns into hell. Shintoku summons his long-horned beetle and the nightmare ends.

Two years pass. Nadeshiko is cleaning the house. She polishes the picture of Shintoku’s mother with such vigor that the image vanishes. This enrages Shintoku, and in a fury he hits his step-mother. In an attempt to maintain the stability of the family, Shintoku’s father orders him to obey, but he refuses.

Nadeshiko reappears with an effigy of Shintoku, on which she begins to place a curse because of his dislike for her–he will not even look at her. In the darkness, Shintoku mistakes her for his real mother and embraces her, telling her of his hatred for his step-mother. He realizes too late that it is Nadeshiko in his arms. In despair, Nadeshiko concludes her curse and Shintoku is blinded.

Over the next year Nadeshiko starts to lose her mind. Shintoku returns, disguised as Nadeshiko, and savagely assaults his step-brother. In a nightmarish sequence, the family home is symbolically destroyed and the father’s health is broken. The strolling players return: their song is of the father and all he represented. (The players are wearing masks depicting seals which to the Japanese signify their rights as householders).

Nadeshiko finds Shintoku playing the family card game alone, wearing her kimono. They finally acknowledge their love for each other and he pleads with her to consummate this love, so that she may give birth to him, and hence become his real mother.

Together they disappear into the crowd, their destination unknown.

696MB | 1h 55mn | 620×464 | avi

https://nitro.download/view/6666C90D8F2FA05/Shintokumaru.(Tenjo.Sajiki.experimental.theater,.Shuji.Terayama,.1978).VHSrip.avi https://nitro.download/view/DD9DB39269F09DC/Shintokumaru.(Tenjo.Sajiki.experimental.theater,.Shuji.Terayama,.1978).VHSrip.en.srt

Language:Japanese
Subtitles:Japanese hardcoded, English

The post Shuji Terayama – Shintoku Maru (1978) first appeared on Cinema of the World.

Shuji Terayama (December 10, 1935—May 4, 1983) was an avant-garde Japanese dramatist, writer, director, and photographer, noted for such films as Emperor Tomato Ketchup and Fruits of Passion.
In 1967, Terayama started an experimental cinema and gallery called ‘Universal Gravitation,’ which is in fact still in existence at Misawa as a resource center. The Terayama Shuji Memorial Hall, which has a large collection of his plays, novels, poetry, photography and a great number of his personal affects and relics from his theatre productions, can also be found in Misawa.
source: artandpopularculture

http://nitroflare.com/view/363A90D8FC47BA1/Shuji.Terayama.and.Shuntaro.Tanikawa.-.Video.Letter.1982-1983.VHSrip.avi
http://www.nitroflare.com/view/19E694491BF88B6/shuji.terayama.and.shuntaro.tanikawa.-.video.letter.1982-1983.vhs.booklet.djvu
http://www.nitroflare.com/view/06775D7AC208FD4/shuji.terayama.and.shuntaro.tanikawa.-.video.letter.1982-1983.vhsrip.english.srt

Language(s):Japanese
Subtitles:English (srt)

The post Shuji Terayama & Shuntaro Tanikawa – Video Letters 1982-1983 (1982) first appeared on Cinema of the World.

Synopsis
EMPEROR TOMATO KETCHUP is Terayama’s epic, sexually revolutionary and hallucinatory work from 1972 in which magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.

http://www.nitroflare.com/watch/E8FAC3D4EFD03CB/Emperor.Tomato.Ketchup.-Directors.Cut-.1970.DVDRip.XviD-KG.avi
http://www.nitroflare.com/view/7002A005FF54326/Emperor.Tomato.Ketchup.-Directors.Cut-.1970.DVDRip.XviD-KG.idx
http://www.nitroflare.com/view/B7A3B1E3F4E18B5/Emperor.Tomato.Ketchup.-Directors.Cut-.1970.DVDRip.XviD-KG.rar
http://www.nitroflare.com/view/18EAB1D792BE33C/Emperor.Tomato.Ketchup.-Directors.Cut-.1970.DVDRip.XviD-KG.srt

Kanguage:Japan
Subs:English
no pass

The post Shuji Terayama – Tomato Kecchappu Kôtei aka Emperor Tomato Ketchup (1971) first appeared on Cinema of the World.