All language subtitles for The.Man.Who.Left.His.Will.on.Film

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?