開催予定の上映

戦後最年少監督としてのデビュー作。大人の社会規範に反発し、反社会的な遊戯にふける大学生4人。しかし彼らの関係性すらもその経済的格差からくる挫折感によって歪められ、予期せぬ破滅への道を辿っていく。劇中に、それらしいニュアンスや情感が現れることを嫌った吉田は、あえて全篇を75mmレンズ1本で撮影した。

The debut work from the youngest director then at work in postwar Japan. Four aimless university students rebel against the norms of adult society by indulging in antisocial “games.” Soon, however, their relationship is threatened by frustrations resulting from their differing economic backgrounds, leading them down an unexpected path to ruin. Harboring a distaste for superficiality and overly dramatized emotion, Yoshida deliberately shot the entire film using a single 75mm lens.

会社の人員整理に対してこめかみに銃口を突きつけて反対し、自殺未遂事件を起こした社員（佐田）。彼の行動は英雄視されてマスコミに取り上げられ、その衝撃のポーズは、とある生命保険会社のポスターとして、日本中に貼られていく。助監督時代に発表したシナリオ「英雄たちは渇く」を映画化。当時の日本映画界のヒューマニズム偏重を強烈に批判した問題作。

When his boss announces the company’s plans to downsize, a disgruntled employee (Keiji Sada) holds a gun to his head in protest. Though his suicide attempt fails, he is hailed as a hero in the media, with his defiant pose subsequently used on posters in a life insurance company’s nationwide advertising campaign. An adaptation of a screenplay (“Heroes Thirst”) Yoshida wrote during his time as an assistant director, Blood Is Dry proved controversial for its scathing critique o fthe humanism then prevalent in Japanese cinema.

終戦の年、秋津の宿で、生きる意味を見失いかけた周作（長門）を救った17歳の新子（岡田）。その後17年にわたり、二人はこの地で逢瀬を重ねる。山深い谷間の温泉地に激しい情念のドラマが展開し、非情にすれ違うさまに、日本人の「戦後」の姿までもが重層的に描かれる。岡田茉莉子が自らの100本記念に企画し、吉田に監督を依頼。コンビの始まりとなった作品。

In the final year of World War Two, the seventeen-year-old daughter of an Akitsu innkeeper (Mariko Okada) helps save the life of a young soldier who has lost the will to live (Hiroyuki Nagato). Across their ensuing encounters over a period of seventeen years, a drama of intense passion unfolds against the mountain hot spring setting, with a layered portrayal of postwar Japanese life emerging through the couple’s tragic trysts. Okada herself requested that Yoshida direct what was to be her 100th on-screen appearance, marking the beginning of their collaboration.

上映後に岡田茉莉子氏によるトーク（約40分）あり

瀬戸内海の巨大な造船所に、若いならず者18人が大阪から集団就職してくる。下宿代に困った島崎（早川）が彼らの住む寮の管理人となることで生まれる軋轢や、社会の底辺に生きる不条理が描かれる。労働力を提供する「もの」に過ぎない社外工に着目すること で、従来の「社会派映画」への批評的な応答にもなっている。

Eighteen unruly youngsters travel from Osaka to work at a huge shipbuilding yard beside the Seto Inland Sea. Struggling to pay his lodging, Shimazaki (Tamotsu Hayakawa) agrees to oversee the dormitory that houses the workers, with the film portraying the resulting friction as well as the absurd conditions those at the bottom of society are forced to endure.Through its focus on itinerant workers, all too often treated like mere labor-providing machines, the film serves as a critical response to more conventional “social-issue films” of the time.

欲望のままに生きた母が亡くなり、いまは社長夫人ながら愛のない結婚生活を送る織子（岡田）。数年ぶりに母の愛人だった彫刻家（木村）と再会するが、かつては憎んでいた相手に惹かれていく自分を抑えきれない。ドキュメンタリー畑の金宇満司を撮影に起用、『水で書かれた物語』（1965）、『女のみづうみ』（1966）に次いで性の主題に鋭く斬り込んだ。

Trapped in a loveless marriage to an adulterous executive, Oriko (Mariko Okada) reunites for the first time in years with Mitsuharu (Isao Kimura), a sculptor and former lover of her uninhibited (now deceased) mother, only to find herself irresistibly drawn to the man she once despised. Shot by documentary cinematographer Mitsuji Kanau, the film is one in a string of works by Yoshida that tackles themes of sexuality, following A Story Written with Water (1965) and Woman of the Lake (1966).

当時社会的な話題であった人工授精で誕生した子どもは母しか親としての権利を持ちえず、父にはその権利がないのではないかというラディカルな問いを投げかけ、男性優位を覆そうとした。『エロス+虐殺』など、その後の吉田作品の脚本を手がける詩人の山田正弘が初めて参加し、画面においても特徴的なハイキーのモノクロ撮影や斬新な構図が確立されはじめている。

Intended as a challenge to male dominance, this work posed a radical question about a topic then the subject of intense social debate: namely, in the case of a child born through artificial insemination, what if parental rights belonged solely to the mother? The work marked Yoshida’s first collaboration with poet Masahiro Yamada, who later wrote scripts for many of his works including Eros + Massacre, while also beginning to establish elements of Yoshida’s distinctive visual style, such as his use of high-key black-and-white cinematography and innovative compositions.

大正期のアナキスト・大杉栄（細川）と彼とともに虐殺された伊藤野枝（岡田）の愛憎関係を、現代の若者の姿を対比させながら描いている。フランスでの先行公開によって吉田の国際的評価を高めた作品だが、国内では実在の人物に関わるプライバシーの問題が取り沙汰された末、一部シーンをカットした本版が劇場公開された。

A depiction of the tumultuous relationship between Taisho-era anarchist Sakae Osugi (Toshiyuki Hosokawa) and his partner Noe Ito (Mariko Okada), who was murdered alongside him, interspersed with scenes contrasting their lives with those of two contemporary students. The film, which premiered in France before its release in Japan, did much to enhance Yoshida’s international reputation; at the same time, owing to privacy concerns related to its depiction of real-life figures, it sparked controversy at home, resulting in a shortened edit being released to theaters.

二・二六事件の首謀者として処刑された社会主義運動家・北一輝（三國）と彼の思想に影響を受けた者たちの動向を、不条理劇の雄・別役実の脚本をもとに描く。『エロス＋虐殺』、『煉獄エロイカ』（1970）から引き続き近代史批評を企図した一作で、これ以降吉田は長く劇映画を離れ、ドキュメンタリーの製作に主軸を移すこととなった。

A portrayal of the life of socialist activist Ikki Kita(Rentaro Mikuni), who was executed for masterminding the February 26 Incident, as well as those influenced by his ideology. Featuring a script by Minoru Betsuyaku, a prominent absurdist playwright, the film was the latest in a series of Yoshida’s works critiquing modern history, following Eros + Massacre and Heroic Purgatory (1970). After its completion, Yoshida distanced himself from feature films for over a decade, shifting his focus to documentary filmmaking instead.

王貞治が、当時ハンク・アーロンの持っていたホームラン世界記録を更新する756号を打つまでの軌跡が、関係者の証言やフッテージを通して語られる。自宅から球場へ向かう王の足どりを再現し、その過程を王が反芻するパートでは、「映像の曖昧さ」といった吉田的なテーマに引き寄せられていく。

The story of how Sadaharu Oh came to hit his 756th home run, surpassing Hank Aaron’s previous record for the most in professional baseball history, is told via historical footage and testimonies from those involved. A sequence recreating Oh’s journey from his home to the stadium, complete with the athlete’s personal ruminations, provides the perfect vehicle for Yoshida’s thematic interest in the ambiguity of images.

上映後にマチュー・カペル氏（映画研究者）によるトーク（約40分）あり

1980年代当時、文化事業に力を入れていた西武セゾングループの出資を得て、13年ぶりに劇映画に復帰した作品。認知症の妻（村瀬）を殺したと供述する夫（三國）とその子どもたちの姿を緊密かつ透明度の高い映像によって描き出し、サン・セバスティアン国際映画祭銀の貝殻賞を受賞した。

Supported by funds from the Seibu Saison Group, a major investor in cultural projects during the 1980s, A Promise marked Yoshida’s return to feature films after thirteen years spent making documentaries. Through pellucid, intimate visuals that show no sign of Yoshida having lost his touch, the film depicts a husband(Rentaro Mikuni) who confesses to killing his dementiasuffering wife (Sachiko Murase), as well as the impact it has on their children. The film won the Silver Shell Award at the San Sebastián International Film Festival.

上映後に舩橋淳氏（映画監督）によるトーク（約40分）あり

愛知県が企画したビデオ作品の第一部。「信玄原の火おんどり」、「綾渡の夜念仏」、「大海の放下踊り」、「尾張大國霊神社の儺追神事」など、愛知県各地の集落に存続するさまざまな祭事を記録したドキュメンタリー。日本特有の祖先の精霊信仰が芸能へと変化してゆくさまが捉えられる。

This first installment of a larger video project commissioned by Aichi Prefecture records various traditional festivals still practiced in different villages throughout Aichi, including Shingenbara’s Fire Dance, Ayado’s Night Nenbutsu, the Omi Fan Dance, and Owari Okunitama Shrine’s Naoi (Evil Spirit-Warding) Ritual. The film captures the process by which practices rooted in Japanese ancestral spirit worship are transformed into the performing arts.

『愛知の民俗芸能―聖なる祭り　芸能する心―』に続き、愛知県の都市部の祭事を記録したドキュメンタリー。「知多万歳」、「津島天王祭」、「大脇梯子獅子」、「安良の棒の手」、「有松の山車からくり」など、“歓びの場”となった祭りが見慣れた都市の風景を一変させている。

Continuing on from Folk Performing Arts of Aichi: Holy Festivals, Spirit of Performance, this documentary offers a look at some of Aichi’s more eccentric urban matsuri. Festivals including Chita’s Manzai, Tsushima’s Tenno Festival, the Owaki Lion Ladder Festival, Yasura Stick Dance, and the Arimatsu Floats Festival transform familiar urban landscapes into sites of revelry and joy.

『嵐が丘』（1988）以来、再び劇映画から離れていた吉田が、かねてより構想していた広島の原爆を題材に取り上げた作品で、最後の長篇映画となった。記憶とは何か、経験とは何かといった問い、水と鏡など吉田作品を特徴づけるモチーフが総動員され、観客一人ひとりの「同時代性」を静かに、しかし鋭く問うている。

Returning from another lengthy break from feature filmmaking after the release of Wuthering Heights (1988), Yoshida made what was to be his final full-length feature, a long-planned work examining the legacy of the Hiroshima atomic bomb dropping. Full of the motifs and images that defined Yoshida’s oeuvre – the nature of memory and experience, the symbolism of water and mirrors – the film quietly yet piercingly forces viewers to question their own assumptions about the nature of contemporaneity.