Tôkyô sensô sengo hiwa

1970 [JAPANESE]

Drama

5
Rotten Tomatoes Audience - Upright 86% · 100 ratings
IMDb Rating 6.9/10 10 1003 1K

suicide thief university will mystery

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Plot summary

When a man chases down his stolen movie camera, the thief commits suicide by jumping off a building. But after the police take the camera as evidence, it becomes unclear if there was ever a thief in the first place.

720p.BLU 1080p.BLU 720p.WEB 1080p.WEB
864.11 MB
986*720
Japanese 2.0
R21
Subtitles us  fr  
23.976 fps
1 hr 34 min
Seeds ...
1.57 GB
1480*1080
Japanese 2.0
R21
Subtitles us  fr  
23.976 fps
1 hr 34 min
Seeds 5
862.24 MB
960*720
Japanese 2.0
R21
Subtitles us  fr  
23.976 fps
1 hr 33 min
Seeds 1
1.56 GB
1440*1080
Japanese 2.0
R21
Subtitles us  fr  
23.976 fps
1 hr 33 min
Seeds 6

Movie Reviews

Reviewed by hamid reza g 7 / 10

A complex and layered film by the director

A complex and layered film by the director of the new wave of Japanese cinema "Nagisa Oshima" at the end of the 60s and the beginning of the 70s, which analyzes cinema and its reflection with an unconventional narrative and with a political background. The black and white of the film has been able to be effective in creating an atmosphere suitable for the content. This movie should be watched carefully and analyzed from different angles. The most obvious theme of the film is definitely the analysis of cinema, and the director wants to dig deep and the nature of cinema and from there examine the cinema and make us think. The film is structurally and thematically different from its predecessors in Japan. It seems that the new wave cinema of the 60s in France and Japanese new wave cinema have subtle similarities and similar effects.
Reviewed by R T 8 / 10

Enigmatic, philosophical mystery

Enigmatic, philosophical mystery.
Reviewed by R T 8 / 10

To begin with, Ôshima was a director who

To begin with, Ôshima was a director who decided to "make films that couldn't be understood in 15 minutes" (as he stated) and that participated in the Japanese New Wave movement (N?beru b?gu) among names like Yoshida, Imamura, Suzuki, Hani, Shindo, among others, all of them creators, in my opinion, of revolutionary challenging experimental pieces of filmmaking (Ôshima mentions these directors by name in one scene of the film, including himself). Directly or indirectly, all directors listed treated the topic of our perception to art and the filters of information present between us and film as a media. Perhaps coincidentally, but not the less interestingly, all directors demonstrated true mastery when it came down to aesthetic composition and cinematography. Finally, all characters showed a personal struggle of (most of the times) metaphysical proportions that always led to the discovery of oneself. The most direct way to treat the aforementioned topic about our perception of the ideas on film was through the concept of metafilm. Ôshima was one of the very few that decided to opt for this approach. He tries to mimic our current state of viewers, placing his characters as viewers of a testament too, being one of the underlying messages: "Any cinematic work of an artist is his own will immortalized in images". With sometimes flawed but always interesting (that's my opinion, anyway) intellectual discussions about how moviemaking fuses real-life persons with the creative self with the purpose of achieving an effect of possible self-projection in the viewer, Ôshima allegorically discusses the effects of filmed ideas in our current reality, being the most extreme of cases what is depicted in probably the best scene of the film: Yasuko, the lover of the man who committed suicide and left his "will" on film, strips and erotically bathes nude in front of the images of the film projector. I cannot dismiss some negative facts. First, as often the New Wave movement "demanded", Ôshima decided to cast unprofessional actors, and it shows. Acting is quite atrocious, and their commitment seems inferior to the much more ambitious thematic content. The film has no sound, but given the urban settings, that technique did not merge well with the inner intensity of the story. Finally, these characters would not stand a chance against the youth of Godard, and would be completely destroyed verbally by the characters in La Chinoise (1967)! Still, if this is not your first adventure into the N?beru b?gu, see it. It is intellectually provoking and has relevant commentaries to state. 86/100
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