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Distributed by ART THEATRE GUILD

A SOZOSHA-ART THEATRE GUILD COPRODUCTION

A SOZOSHA FILM

THE MAN WHO LEFT HIS WILL ON FILM

THE TOKYO WAR: AN UNKNOWN POSTWAR EPISODE

Story by NAGISA OSHIMA and TAKESHI TAMURA

Screenplay by MASATO HARA and MAMORU SASAKI

Music by TORU TAKEMITSU

Director of Photography TOICHIRO NARUSHIMA

Production Design by JUSHO TODA

Sound by HIDEO NISHIZAKI

Edited by KEIICHI URAOKA

Lightning by TOMIO MIZUMURA

Starring

KAZUO GOTO, SUGIO FUKUOKA KENICHI FUKUDA

HIROSHI ISOGAI, KAZUO HASHIMOTO, KAZUYA HORIKOSHI

EMIKO IWASAKI

TOMO YOSHIMA

Produced by TAGUJI YAMAGUCHI

Directed by NAGISA OSHIMA

I told you to bring it back by 9:00 this morning.

What are you filming? There's nobody there!

I can't have you wasting film today.

Give it back!

Don't touch that!

You don't even know how to use it.

Come on, give it back.

We're using it today.

What are you filming anyway?

You can shoot street scenes anytime.

What's the big idea? Give it back!

Hey, stop!

Where are you going?

Wait a minute!

Give back the camera!

Bastard! Where are you going?

Stop!

I said to stop! Where are you going?

Give the camera back!

Wait!

Where are you going? Give it back!

You trying to get killed?

Hey, hold it!

What are you doing to my camera? Let me go!

Give it back! It's mine!

- We're holding you as a witness! - Give it back!

He's coming around.

Motoki, you all right?

Don't try to get up.

- I have to get the camera back. - Motoki, forgive me.

If I hadn't fallen just then...

The camera.

We were just debating what to do. The police won't give it back.

It didn't break? What was on the film?

Have the police developed it?

We have no idea.

They just keep saying it's evidence.

Bolexes are fragile. I wonder if it broke when I fell.

Cops don't know about cameras.

We have to get it back soon.

They'll probably pop the cover and expose the film.

Nah, they seized the film as evidence.

They aren't that dumb. Some of them know a lot about cameras.

You think?

Then let's go protest. Let's hurry.

What are you talking about?

We've been waiting for you to wake up.

We called your name, and even had a loud debate,

but you wouldn't wake up.

We thought it was sleeping sickness and you'd never wake up.

That's why I'm saying to hurry up. We've got to get my camera back.

Your camera?

- I mean... - The truth comes out.

Isn't it true that you still have a sense of private property?

Yazawa, don't get so worked up.

The question is, did he go after the plainclothesmen

because he was fighting on behalf of our movement,

or because he wanted to get his precious camera back?

Let's get that much clear...

Yazawa, drop it.

Motoki takes better care of the equipment than any one.

He maintains it and repairs it.

When I'm shooting, I feel like it's mine too.

When they tried to take it, I tried to protect it as my own.

Because I was trying to protect the camera,

I didn't look where I was going, and I fell.

That's reified bourgeois consciousness.

That's private ownership, a betrayal of the people.

Still, if we lose that camera, I'll...

It isn't just your fault. If I hadn't tripped...

Reified bourgeois consciousness! Private ownership, a betrayal of...

Yazawa, you talk big,

but would you have run after the cops like Motoki?

That was stupid - violence for its own sake.

- Kakumaru factionalist! - Enough labels!

Where you two stand on anti-imperialism and anti-Stalinism?

I'm just a Kakumaru factionalist, a Stalinist apparatchik.

Quit sulking, Yazawa.

But Matsumura, we have to think about what Yazawa's saying,

even if he has a bad habit of rushing to label others.

Yeah, but didn't the guys in the university film club say:

If you film with proletarian consciousness, you can make films for the proletariat?

They tried to do that, and it bankrupted them intellectually.

- Where are you going? - To the police.

You can't go alone. If we attack, we attack together.

Violence for its own sake!

Go give it a try.

Sakamoto's probably got a bomb that could take out a police station.

Matsumura, Motoki's still in bad shape.

I just sprained my ankle,

but Motoki got beaten bad all over.

Let's have him stay in bed tonight.

Yeah, he can't do anything like this.

Let's go back and discuss our plan for recovering the camera.

No matter what, we should write a letter of appeal.

Yasuko, get Motoki's story, then come report to us.

Let's go.

Yasuko. Read him Kanichi Kuroda's "Views of Society." He'll feel better.

No, don't. He'll just feel worse.

Did they leave?

You must be hungry. I can make some coffee.

Wait just a bit.

Are you actually going to the police?

No, I'm going to go talk it over with the others.

I was worried.

You ran after the cops and out of view.

I figured you'd fought with them and been arrested.

I didn't know what to do, so I just waited around.

But luckily you weren't arrested.

I'm going back.

You're still in bad shape after all.

Fine. Let's go back.

If you tell me what happened, I'll pass it on to them.

There's no point.

They're probably having his wake right now.

Tomorrow's the funeral. - Whose?

- That guy's. - Who's "that guy"?

- That guy. - Who are you talking about?

The cops were going to take his camera,

so I grabbed it and ran, but I got caught.

Ah, you mean Endo?

Calling it a funeral is going a bit far.

He just sprained his ankle.

You make it sound as if his life as a cameraman is over.

I feel bad for him.

What? His name was Endo?

Stop it. This isn't funny anymore.

What're you talking about?

He jumped off the roof of that building.

I can't believe he just sprained his ankle.

Endo did that? When?

This afternoon.

No, Endo was with us all day, shooting footage of the clashes.

Footage of the clashes? Nonsense.

He committed suicide.

He jumped right before my eyes early this afternoon.

I've heard enough about your dream.

We wanted to know what happened,

after you started chasing the plainclothesmen.

Plainclothesmen?

Shall I go over everything that happened today?

We met in front of Sendagaya station at 3:00 p.m.

To film the April 28, Okinawa Day convention.

We all gathered near the red mailbox.

The red mailbox...

The riot police were lined up with their shields.

They were in front of Meiji Park, checking people's bags.

Everybody cooperated with them. We were furious.

The police presence was so excessive,

that some of them were free to play with the children.

The children...

Things in the park were quieter than expected.

We were a little surprised.

Sakamoto grumbled about how mass protests

were nothing but a farce.

The place was dead.

There was one antiwar demonstrator making a racket by himself.

You watched intently.

What were you thinking about?

About what happened last October and November?

You used to put on a white Chukaku Faction helmet

and mix with the all-faction antiwar guerrillas.

But then you quit the Chukaku as if you were all burned out.

The plaza was filled with flags, even one of cartoon characters.

Beshi...

As soon as it got dark, the place went crazy.

The Kakumaru faction came from another demonstration

and tried to join in.

With their Takezawa flags, they were itching for a fight.

It looked like an interfactional war between the Chukaku and the Kakumaru was about to erupt.

The riot police stepped in,

and the Kakumaru were forced to disperse.

I pointed out, that if both factions got together,

we could launch a pincer attack on the riot police,

but you just laughed and said,

"That's what the Kakumaru call an illicit union."Remember?

After that, the demonstration headed for Hibiya Park.

Just as we passed the baseball stadium,

we heard them announcing the score.

We switched from zigzag to French-style formation on Aoyama Ave.

That's when we got separated from Yazawa's camera group,

and it was just you, me, and Endo.

The loud commands from the riot police cars

echoed across the broad avenue.

It was a really weird sensation.

When we got to Aoyama 1-chome crossing,

the riot police attacked, just as we'd been warned.

They were out to get us no matter what.

We used up all our film shooting that scene.

You were the first one to notice the plainclothes police.

You tried to warn us.

They were after the camera.

Endo suddenly tripped and fell.

You pushed the cops away, grabbed the camera, and ran.

The plainclothes and riot police ran after you.

They wrenched the camera from your hands

and got in an unmarked patrol car.

"Give it back!" you screamed as you ran after it as far as you could.

You remember now?

You ran after that car.

I want to know what happened after that.

I ran into a tunnel and kept running.

He committed suicide.

That film became his last will and testament.

You still believe that?

Today we...

I tried to pry the camera from his hands,

but he shook me off.

I grabbed his arm.

He pushed me away and ran off.

It was morning, with just a few people around.

Then he jumped off the roof of that building.

Where were you then?

Your boyfriend committed suicide.

What were you doing?

I... we were shooting footage of the Okinawa Day demonstrations.

So you were wasting time! You idiot!

Go to him now and hold his hand and ask for forgiveness!

Motoki...

You're going to the wake, right?

I'm going to tell the others what you said.

- What are you doing? - It's all pointless!

"Turn film into a weapon"? "Surpass the film club"?

While you were busy with that shit, he killed himself!

Wait!

I agree it's a rationalization to say that making films

is a way of joining the struggle, but still...

You think that's an excuse?

Wait.

Not here.

In your room.

All right.

No!

That's right. You're his girl.

- Why are you doing this? - Idiot!

Now you'll be raped by another man.

Stop it!

Is this the film that guy left?

"That guy"? He was your boyfriend.

Okay. Is this the film my boyfriend left?

After concluding it was suicide, the cops gave it back.

What is this?

This is a pretty laid-back will.

Don't rush to judgment. It just started.

Is that the liquor store where he bought his booze?

He wasn't much of a drinker.

Son of a bitch was probably screwing the shop girl.

Don't say that in front of Yasuko.

The bookstore next to it, don't you go there a lot?

Could be.

What was the point of shooting all this?

Who films something like this before he dies?

Maybe he really did go crazy.

No, there's gotta be something here.

How can you call him nuts, when you're not even watching?

But no matter how hard I look, I can't seem to find anything here.

It's getting tedious.

What is this? We're just wasting our time.

He was bankrupt, politically and artistically.

Just look at this shit.

Maybe he thought a succession of long, meaningless shots

would somehow create some kind of meaning.

That's what's called bankruptcy.

When he first joined us, his images were a lot more edgy.

He could capture a certain tense relationship with reality.

We gonna watch this till the end?

Here's what I think:

As Yazawa said,

when you're politically and artistically bankrupt,

you no longer believe in what you've done before.

Just like the prewar communists who later turned.

What's different

is that he was baptized in the church of modernism.

As Takaki Yoshimoto says, Japan's a complex mix

of feudalism and modernism.

Once it sucks you in, all you do is sink deeper into the bog,

and fetishize the empty experiences of childhood and youth.

This is getting creepy.

This is what happens to petit bourgeois intellectuals

unable to achieve proletarian consciousness.

Let's stop watching.

I'm gonna turn it off, okay?

Hold on. He worked hard to shoot all this.

He fought beside us, however badly. We should watch it to the end.

I told you to bring it back by 9:00 this morning.

What are you filming? There's nobody there!

I can't have you wasting film today.

Give it back!

Don't touch that!

You don't even know how to use it.

Come on, give it back.

We're using it today.

What are you filming anyway?

You can shoot street scenes anytime.

What's the big idea? Give it back!

Hey, stop!

Where are you going?

Wait a minute!

Give back the camera!

Bastard! Where are you going?

Stop!

I said to stop! Where are you going?

Give the camera back!

Wait!

Where are you going? Give it back!

That's all you shot? Ours was better.

But you lost your camera to the cops.

Didn't I tell you to get closer to the fighting? You shrank back.

- Motoki, you're here too? - You all right?

Yasuko says you haven't been able to carry on a decent conversation.

We were worried.

If you couldn't even talk with Yasuko,

they must have beat you pretty badly.

So tell us exactly what happened.

Share your story at the recovery protest.

Here's a draft of the flyer and petition for intellectuals.

- Recovery of what? - What else? The film the cops took.

We already got it back. We just watched it.

What are you talking about? That was Takagi's footage.

State power doesn't give things back so easily.

Motoki, you're still out of it. Go home and get some sleep.

We understand you feel responsible for losing the film,

but this is a problem we should all work out together.

Don't get so upset.

Motoki, take a seat.

Now, as we were saying...

As I wrote down here, I think we'll be able to get

Nagisa Oshima and Masahiro Shinoda.

- Are you serious? - Yeah, it's for certain.

Kirio Urayama and Seijun Suzuki will probably give money.

Nah, probably not.

Kiju Yoshida was making an argument

for freedom of expression recently, right?

So he can be expected to help.

Then there's Shohei Imamura and Tai Kato.

Individuals are fine, of course,

but what about the Directors Guild,

the Writers Guild,

and the Motion Picture Engineering Society?

As broad a range of people as possible.

We have to create an image of solidarity,

and develop a high-level movement.

What about the lawsuit the film club at Kokugakuin won?

After that experience, they'll use all sorts of dirty tricks.

It's all right to appeal to intellectuals,

but we can't expect much, since all they care about

is petty stuff like freedom of expression.

The film clubs are intellectually bankrupt.

We have to develop our own movement.

- That's right. - Hey, it's time to go hand out flyers.

That's all we can do for now.

I'll take some cigarettes.

If you're looking for his film, it's right here.

What's with that creepy look?

You saw the film.

Why'd he shoot it?

You must know.

You were his girl.

What was he trying to do?

It was his will.

- That meaningless crap? - But he did shoot it.

Maybe he...

What?

No, it can't be. I saw him die.

Right. He shot this before he died.

Son of a bitch just had to borrow the camera.

What was he trying to do? - You don't want it?

What the hell was he trying to do. That bastard!

Sorry. I thought you were somebody else.

Hey, did you see a guy about my age turn this corner?

No.

What's wrong?

You...

Are you looking for someone?

Here.

I don't want it. You keep it.

The person who made this dumb movie didn't exist.

The stupid asshole, who made that movie, didn't exist!

What's wrong? What are you looking at?

Is something bugging you?

It's nothing.

This is useless. He never existed.

He never...

What's wrong with you today?

Is this a risky time?

I'll be gentle, okay?

I'll be gentle. I won't go too far.

If I get close to the edge, I'll stop.

I'm his girl.

It's no joke!

Come on. What are you doing?

What any girl with a boyfriend would do if you got fresh with her.

You idiot. I told you he never existed.

Liar! What were you looking at, then?

Who were you looking for?

That was nothing.

I may have said strange things about him,

but that's because getting beaten by the cops messed with my head.

Don't get worked up. I'm really sorry.

Let's go back to the way we were.

Stop it!

What's this, then?

What is this?

Isn't it the film he shot?

Before he killed himself, he shot this as his last will.

Yasuko, stop it.

I just made him up. He never really existed.

Then what about this? What is it?

You just took that out of our editing room.

It's just film scraps spliced together.

- Then I can show it, right? - Sure. Go ahead.

Stop being so stubborn.

Stop it!

What's that?

This is your boyfriend's will?

That's right. This is his will.

Oh, yeah? Your boyfriend made a habit

of splicing film scraps together?

No.

No? Then what's this on the screen?

Tell me.

See, you don't know.

So stop being difficult.

But Akiko sure doesn't let anything go to waste,

splicing all these scraps together.

That morning...

he made love to me...

without a word.

Yes, that morning he made love to me without a word.

Then, still silent, he walked out the door.

Yasuko!

There is no such person!

Darling.

Stop it! He never existed!

Stop this bullshit! Don't you understand he doesn't exist?

Motoki, where have you been?

That's no answer.

Takagi went to your place,

but the door was locked and nobody answered.

Where you there? What were you doing?

Is Endo's ankle better?

Not completely, but he manages to limp around.

But you never called in. What have you been doing?

- Just stuff. - Where the hell were you?

Yasuko says she hasn't seen you either.

Sakamoto and those guys say you're on the fence.

Surely you know what we're up against.

We're finally having our first briefing

about the struggle to get the film back,

but we're not yet at the point of triggering mass action.

That's why Matsumura and the others are working so hard.

You still feeling out of sorts?

No, I've recovered. It's just...

Hey, let me do that.

I've got to make up for getting wrapped up in my stupid ideas.

What stupid ideas?

I got obsessed about a guy who never existed.

- He did exist! - No, it was all an illusion.

Is that the way you want it?

It was a fantasy.

From illusion to reality, from fantasy to science,

from words to life.

You're not the only one obsessed with illusions.

Some think armed struggle can launch a revolution,

even without the support of the masses.

Yeah.

Can't do much if we're all talk and no action.

Like Matsumura was saying,

we live in a time when all mankind is oppressed.

The only breakthrough will not come from fantasy

but from the imagination. That's what's called for.

Yeah, that's why we're making films.

I don't have a good reason for skipping out like I did,

but the struggle's about more than just getting the film back.

It's about protesting the suppression of the imagination.

I'm going to be more positive from now on.

Is that all?

What about his death?

What's wrong, Yasuko? You're sounding like Motoki used to.

Yasuko, Motoki's finally on board.

Don't start messing with his head now.

Motoki can edit even faster than Yazawa,

and he's only worked with us for six months.

I'm the theoretician.

He's the camera and equipment geek.

You really love film, don't you?

It's almost like you're caressing it.

You know, I used to take part in street riots.

That was last autumn. But it felt totally futile,

like we were just moving parallel with history.

I don't remember what the title was,

but I saw an independent documentary.

It was great. Totally captivated my imagination.

I thought cameras were awesome.

They can capture history and jazz it up.

What's that supposed to mean?

Well, history seems to progress independently of us,

but seen through the camera, you really start to feel it.

That's right.

You feel that way about film,

because your street demonstrations were bankrupt.

That film was the breakthrough

that made you want to join a new struggle.

That's why you joined us.

Yeah, maybe.

So to say that film embellishes history isn't quite right.

You're supposed to use film as a medium to confront reality.

Isn't that how film becomes a weapon?

Yeah, that's right.

What matters in film is the degree to which

the creative subject grapples with reality.

Reality and the creative subject engage in mutual criticism,

and film becomes a weapon for both reality and the subject.

- Right on. - Yeah, that's how it is.

That doesn't change the fact that film embellishes what it records.

Then the ideal film would be a beautiful couple doing a flashy dance.

That's right. You're missing the creative subjectivity.

It's him! He shot this!

Son of a bitch even shot footage at a place like this.

What is it? Did you find a cool shot?

This is just test footage.

No, he shot it.

Who's "he"?

That guy. Your guy.

"That guy" who doesn't exist.

What the hell are you talking about, "he doesn't exist"?

Takagi shot that to start a new roll.

The bastard wasted a lot of film

with his test shot.

This footage is totally useless.

Yasuko, what guy are you two talking about?

I don't know.

Motoki says he doesn't exist, so I guess he doesn't.

Hey, it's getting tangled!

You trying to ruin it?

That's not like you.

He's dead.

Make me your girl.

No, he's...

What's the matter? Isn't it working

Turn off the lights.

Do it yourself.

Turn them off!

Well? Turn them off!

Turn on the projector first.

That's stupid. The lights go off first.

No, you go first.

What are you talking about? Just flick the switch.

Why don't you go first?

What's wrong? Hurry up and flick the switch.

Come on, quick.

Listen...

when he decided to shoot this and then kill himself,

didn't he say anything to you?

How would I know?

You should know. You were his girlfriend.

I wouldn't tell you even if I knew.

Come on, tell me.

Please. Tell me.

He didn't say anything.

You telling the truth?

He left his will, didn't he?

He didn't need to say anything.

Then what did this film tell you?

What did it tell you?

I don't know. That's why I want to see it again.

You think you'll understand this time?

Well? Do you?

Just turn off the lights!

Please, just turn them off.

Turn them off!

What's wrong? I turned off the lights.

Hurry up and flick the switch.

He really didn't say anything?

You're sure?

That morning he made love to me.

He simply made love to me without saying a word.

He made love to you. Like this?

No, he was gentler.

Like this?

No.

It was like the wind blowing.

No.

Everything was different.

It was like water flowing, like clouds racing by.

It was dazzling, like the blazing sun.

You embraced in broad daylight under that window?

Where's that?

It was different. Everything's getting hazy.

Where is this street with all the signs?

I'm losing my sight. No light is entering my eyes.

Look closely! I'm asking where that is.

Sweetheart...

He doesn't exist.

He did exist.

He made love to me that morning without a word.

He doesn't exist. I just made him up on a whim.

He's there.

He's watching us from behind the screen.

That's why I'm asking where this is.

I don't know.

It's a place like a million others.

But you were his girl. You should know.

Then maybe I just don't remember.

Try to remember, why he filmed this place.

If we go there, maybe we'll understand.

But I don't know.

He didn't say anything about his will.

That morning he just made love to me without a word.

Then how did he make love to you?

I didn't really make love to him, and he didn't really make love to me.

I guess I just felt as if I'd been made love to.

Who is he?

I don't know.

There is no such person.

He just made love to me that morning without a word.

- Did he always do that? - Yes.

Liar!

He must have said something.

It doesn't matter when. If he said something, just tell me.

He said nothing. He just...

The wind was blowing, water was flowing,

the sun was blazing!

That's right.

Who is he?

What do you want me to say?

He always just silently...

Stop repeating yourself!

Your words are too beautiful.

Then what do you want me to say?

The wind doesn't blow.

Water doesn't flow.

Does the sun dazzle?

Don't make me laugh!

Ah, who is he?

He's the son of a bitch who shot this shoddy film and then died.

It isn't shoddy.

It's the film he shot before he died.

Look at it. Where's the beauty in it?

What is it? What does it show?

Some pathetic landscape.

A shoddy landscape like a million others!

You're lying.

It must show something better than that.

You just can't see it.

Aren't you the one who can't see?

Look! It's just a row of busted signs,

twisted guardrails,

and a mailbox that's weathered and peeling.

Just more of the same, going by at a snail's pace.

What else?

An ancient old woman in a cigarette stand.

What else?

Next to the old woman, a grimy public phone.

What else?

Don't you get it? That's the film he shot.

Don't you see? That's all he could manage.

That's not true.

You don't understand.

You don't understand why he shot that film...

and killed himself.

You're the one who's shoddy.

I... hate him.

I hate him too much for words.

I hate him so much I want to kill him.

But he's...

The wind doesn't blow.

Water doesn't flow.

The sun no longer shines!

This is him, right?

Yeah, we're gonna kill him.

- Where do we start? - From here.

The launch of the attack.

CONFIDENTIAL

No, this isn't it.

This isn't it, either.

Wait.

Somebody's watching. - Really?

We're getting closer.

That's it!

We found it! - Really?

Hold on. I'll ask.

Excuse me.

Did you see a guy shooting a film here recently?

A film?

Yeah, a guy about my age and height.

I don't think so.

Shin from next door took some photos out front the other day.

Silly! That was a still camera.

Thanks anyway.

Yasuko!

What happened?

It was him.

Son of a bitch!

He did things to me.

I don't want to hear it! We'll hunt him down.

What is it?

Did you see him?

Yes, it was about a week ago,

or maybe ten days. Little Ken came by and said...

Who's Little Ken?

A boy who used to live around here.

He used to come and buy cigarettes for his father.

He's grown quite big.

He suddenly showed up to pay a visit.

He said he wanted to take my picture.

Did he say why?

I told him it was silly to take a picture of an old woman like me.

The camera was a gift when he started middle school.

He was so happy that he started taking pictures of everything.

Stop!

Ma'am, did you see that girl?

...he took five or six, and I asked if that was enough,

but he still wanted to take another one.

- Yasuko. - He did things to me.

The wind was blowing.

Water was flowing.

The sun was shining.

He just passed by.

Like the wind?

Like water flowing?

Like the rays of the sun?

No, nothing like that.

Really?

One more left.

The last one must be around here.

Here. He went in here.

MOTOKI

He's here. You saw him too.

Let's go inside.

What's wrong?

- That's enough for today. - But we've come...

I said that's enough for today.

DESIST FROM STRUGGLE

- Stop it. - Isn't that what we're doing?

What happened? You just disappeared in the middle.

We had to do all the work.

Nah, you were smart to run off.

That was exhausting.

We didn't have time to prepare or publicize the meeting.

If you don't talk about freedom of expression,

then I guess the so-called intellectuals won't show up.

As expected, no one from the film clubs came.

Of course not.

Those meetings are pointless to begin with.

We have to rally together and use force.

This proves how totally bankrupt those guys are, though.

Who cares about them?

Those who can fight must fight.

Maybe Sakamoto's right. Maybe it's time for violence.

It's sad we're the only ones with the subjective capacity

to build a cultural front. - Yeah.

But we have to work with what we've got.

- What are you doing? - Are you wigging out?

What kind of a fucking situation report was that?

What are you, a cultural commissar?

- Yeah, cultural commissar! - Quit fucking around!

Hey, watch it. You'll knock the lens off.

Motoki, this is no time for that shit.

But that's the only camera we have left.

We have to be careful with it.

Endo, where's the 4 x zoom lens?

I left it at my place.

- Bring it back soon. - Why?

Just do it, please, and soon.

What's up, Motoki?

You're taking care of the camera and gathering lenses

like you're gonna start shooting a new film.

Motoki. First you skip out on the meeting,

and now you want the lenses. What are you up to?

You want to shoot a new film?

If I did, would you lend me the camera and lenses?

We've only got one camera, and we can't know when we'll need it,

as our struggle progresses.

I'll return it then.

That's not the problem.

It's your whole attitude.

You were there when the film was seized,

so you should be thinking about how to get it back

and how to establish a solid cultural front.

That's what we want to know.

So you won't lend it to me?

Wake up and listen!

Why don't you tell us about the film you want to make?

If you persuade us, we'll help.

Impossible. It's too personal.

Right. Instead of getting hung up on Motoki's personal problems,

we should be making our own films.

Akiko, can we see the rough cut?

We've got better things to do.

Editing won't save a bad film.

- What do you mean? - If you don't want to watch, don't.

Turn off the lights.

- Shall I help? - No.

Is that Tokyo?

Making films adds nothing to the struggle.

Pipe down.

- Takagi, did you shoot this? - Yeah...

but there was a cop on the other side, so...

- It's out of focus. - I should've shot from a different angle.

Yeah, you should have.

You were there. You know that was impossible!

Never mind the little stuff. What matters is what comes next.

How do we express the reality of the state seizing our film?

Have the camera and film suddenly fly through the sky

and get absorbed into the bright sunlight.

Then use halation to make the screen go white.

- What's the sunlight represent? - State power, of course!

- Give me a break! - What a cliché!

- They did that at Kokugakuin. - Yeah, forget it.

What a surprise! I thought it was your little brother.

Where have you been? It's been so long.

You should drop by more often.

There was a student riot the other day.

You weren't involved, right?

What's wrong? You seem down.

Is there anything to eat?

You're hungry? I'll fix something in a minute.

Is my brother using my room?

No, he says he's too used to his own room...

even though yours gets more light.

What would you like for dinner?

You're staying for dinner, aren't you?

I'll fix whatever you like.

Anything's fine.

Your brother's been asking for rice with bamboo shoots. Will that do?

What's wrong? All you do is mumble.

You visit so rarely, you could at least talk more.

You're finally shooting?

What are you going to shoot? - You already know.

Spell it out.

- You know. - Can't you say it?

The same landscape he shot.

- The same way he did? - Yeah.

Why?

You think you'll beat him that way?

Or kill him?

Yeah, if I film the same landscape the same way,

he'll disappear, and I'll become him.

- I wonder. - What's that?

If you become him,

he'll become you, and that way he'll live on.

Right?

I hope you succeed.

Hey, Yasuko! Get out of the shot.

What are you doing?

Excuse me. I need to open that.

Please step aside. I'll just be a second.

Come on, you're in my way.

Please move out of my way!

I'm asking you to move!

Please help me move her.

Come over here, young lady.

Hurry up, while I hold her.

Sure. Yes, that's fine.

Fine.

Would you repeat that?

Yes, fine.

Yes, all right. That's fine with me.

Knock it off!

What? That's fine.

Why are you trying to ruin every shot?

Yes, it's true.

That's fine with me.

No, I don't mind at all.

Hey, that line is long dead.

What the hell are you doing?

Are you trying to fuck with me?

Fucking bitch!

Stupid shit!

It was her fault!

You crossed over into oncoming traffic!

Wait a minute!

- You want some too? - I'm sorry.

Idiot! Trying to get us killed?

Hey, stop it.

Excuse me, could you watch this for a minute?

Yasuko.

I won.

I beat both you and him.

How do you know?

Because I didn't see anything.

I didn't see his landscapes.

You think that makes you the winner?

You saw it, didn't you?

You saw it. - No.

Your eyes were open the whole time.

- What did I see? - The landscape.

So in the end you couldn't beat him.

That's not true.

The landscape I saw in the car wasn't his.

Look here.

He was nowhere near the road we were on.

He wasn't here either.

Or here either.

I didn't see him here either.

Yasuko.

There is no such thing as his landscape.

All landscapes are the same.

He's in every landscape,

and he's in no landscape.

- Give the camera back! - Damn thief! When did you turn rotten?

Taking communal property for yourself!

Return it, and you can borrow it again if you need it.

- How'd you know I was here? - What difference does it make?

- You asked Yasuko. - Just give it back!

What are you trying to do?

Give it back!

I...

Are you still here?