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Koji Wakamatsu (1936 - )

Related: 1936 - cult films - Japanese cinema - pinku eiga - director

Films: The Embryo Hunts in Secret (1966)

The Embryo Hunts in Secret (1966) - Koji Wakamatsu

Koji Wakamatsu is Japan's most notorious underground filmmaker, a combination of Godard, Gregg Araki, and Jesus Franco. He is the producer of Oshima's In the Realm of the Senses and was banned from travel to the USA for his 1973 documentary about the PLO.

Ecstasy of the Angels (1970) - Koji Wakamatsu
[FR] [DE] [UK]

The '60s are definitely over in director Koji Wakamatsu's outrageous look at the Japanese radical movement. A group of oversexed militants (named after the days of the week) try to steal weapons from a U.S Army base--Tuesday, Wednesday and Thursday are killed. Slowly, the surviving group members realize they've been betrayed by their own organization, and begin to wreak sexual and political anarchy on everything in sight.

Go, Go Second Time Virgin (1969) - Koji Wakamatsu
[FR] [DE] [UK]

Go, Go, Second Time Virgin is the story of two damned and abused teenagers who meet and fall in mutant love on a Tokyo rooftop. Their only hope is to cement their love with an escape into oblivion.

Okasareta hakui (1967) - Koji Wakamatsu


Koji Wakamatsu (born April 1, 1936, in Wakuya, Miyagi, Japan) is a Japanese film director who directed such pinku eiga films as Ecstacy of the Angels and Go, Go Second Time Virgin. He also produced Nagisa Oshima's controversial film In the Realm of the Senses. --http://en.wikipedia.org/wiki/Koji_Wakamatsu [Aug 2006]


Koji Wakamatsu is one of the more important directors to have worked in the pink film (pinku eiga), a genre of softcore, dramatically charged films which were dominant on the Japanese domestic scene in the 1960ís and 1970ís (the roman porn were a more radical and explicit subset of the pink film). The Japanese studios who produced these films, including Nikkatsu, were reluctant to distribute these films abroad, for fear of the sort of image the films would project of Japan. Seeing these films today one must conclude that it was not the more obvious sexual display that worried the Japanese, but the radical anarchist politics of the films, perhaps above all else, often compounded by violent sadomasochism, and the undercurrent of misogyny.--Donato Totaro, http://www.horschamp.qc.ca/new_offscreen/ecstasy_angels.html


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