桐島聡は1975年に連続企業爆破事件の被疑者として全国に指名手配されたが、逃亡から約49年後の2024年1月25日に病院へ搬送され、4日後の1月29日に死去した。死亡の直前、担当医師に本名である“桐島聡”として死にたいと語ったそうだが、そこには多くの謎と、逃亡生活の終焉や自らの死を予感した決意が含まれていたという。逃亡中は“内田洋”という偽名を使用し、地方都市で絶望的な孤独の中にいた桐島。本作は、彼が逃亡生活に見出そうとしたものと向き合っていく。

主人公の川上達也の母は、宗教に身を投じ3人の子の面倒を見ない。妹は「ハンバーグを週1でいいから食べたい」と泣くがそれを母が叱る。さらに、父の自殺、兄の失明も重なる。大学進学を諦めた川上は、宗教が自分の人生を狂わせたと考え、母が信じる宗教と関係の深い元首相の暗殺計画を実行に移す。

卒業を間近に控えた高校三年生の明子（芦川絵里）、絹代（花村亜流芽）、時子（万屋真理）の三人は、自分たち不良の劣等生を冷たく扱ってきた学校に復讐するため卒業式の妨害を密かに企てていた。彼女たちのたくらみを知った同級生の誠一（新田等々）と五郎（福間健二）も加わり式の前日に三年生全員の成績表と卒業証書を盗み出し、自衛隊員から色仕掛けで奪った武器を手にドン詰まりの山岳アジトに立てこもったのだった。しかし、そこには先客が居た。頭の少しおかしいはぐれ自衛官木下（谷川俊之）に発見され、５人は拘束されてしまった。足立正生監督の若松プロ作品。

Sa-in (Blocked Vagina) 1963. Directed by Masao Adachi with some students of Nihon University (Nihon University Film Study Club) Blocked Vagina represents the blocked situation following the demonstrations against the AMPO in 1960. There was a happening during the projection of this movie Sa-in no Go (The Ceremony of the Blocked Vagina) with fight against the police. The film was stole during that fight. Pou Pou / Pu Pu (1959) by Motoharu Jonouchi. Surrealist movie by Motoharu Jonouchi a friend of Masao Adachi from Nichidai, Nihon University.

Inspired by the true story of a Geisha murdered in a city famous for its baths, Adachi forged here his favorite style, a kind of conceptual documentary recounting the incident in monotone. The same event that at the beginning of Violated Angels escaped every principle of causality, is portrayed here as a singular anti-spectacle.

在一次恐怖袭击中，M作为飞机场袭击作战的头目策划着这次军事行动。可是不幸的是，一切进行的都很顺利，M的手榴弹却是一颗哑弹。失败后，同伴们全部都自裁谢罪，只有M留了下来。被保安队抓住的M，为了让他把下次行动计划全部吐露出来，保安队开始了对他非人的虐待……

A car wreck on a beach road. While the passengers gather round the broken engine the driver, a young man meets his doppelganger on the beach. He beats and strangles him to death. A hospital. The young man walks down a flight of stairs passing a group of beautiful nurses and is hit by a crutch, thrown by his doppelganger who’d been waiting for him at the top of the staircase. Again he beats him to death with the crutch disposing of the corpse in the nearby toilet room. Leaving the toilet the young man is again confronted with his living doppelganger and collapses. A car. The young man now drives through Tokyo’s outskirts accompanied by a beautiful woman who tries to hug and kiss him. Desperately he tries to escape from her leaping through the windshield of the driving car now flying high above the highways landing on a table on the rooftop of a building trying to hide from the woman, who somehow managed to follow him through the air…
Sounds crazy? It’s the synopsis of the first 10 minutes of Adachi’s independently produced experiment in classical surrealism, a dreamlike Möbius-strip of a film, which was the formal opening film at the famous underground theatre Zasori-za located in the basement of Shinjuku Bunka, the headquaters of ATG and the Tokyo underground movements of the 60’s. The original print was sepia-tinted, hence the distorted colour of the stills.

Masao Adachi's Datai (Abortion) is about a crazy gynaecologist who wants to liberate mankind from sexual problems by radically separating sex on the one hand and reproduction, which should be left to artificial wombs, on the other. For the opening scene Adachi used a birth scene from an older 16mm sex education film, either a pre-war osan eiga or a post-war basukon eiga. Datai is Adachi's first pink eiga movie.

A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society.
In 1969, Adachi, who had already made a number of important films, led a group of people, who were all in the vanguard of filmmaking in Japan, in making a film called “AKA. Serial Killer.” The camera eye mostly shows various landscapes across Japan, following the itinerary of a young informal worker, Norio Nagayama, who ended up committing a series of shootings in these places. Then a relatively known film director made a narrative film about Nagayama’s miserable upbringing and tried to make a statement about the social inequality that was supposed to have been responsible for his crime (The film is “Naked Nineteen -Hadaka no Jyuukyuu-sai-” directed by Kaneto Shindo, 1970). Meanwhile this group decided to pursue a totally different approach, which, precisely speaking, is neither a story film nor documentary. It is an attempt to see exactly what Nagayama saw along his itinerary looking for a better job, a better place, which never existed. The resulting film shows a series of terrains that have been transformed to the effect of losing genius loci or the singularities of place and became a series of postcard-like landscapes. This was the most straightforward critique of capital’s “real subsumption,” namely, the overall commodification of the everyday, which corresponds to the critique of “spectacle” by Guy Debord (The key word used in the debate provoked by the film was fukei in Japanese, which is commonly translated as “landscape.” As opposed to that, the music critic Yuzo Sakuramoto suggested to use “spectacle.”).
足立正生 Masao Adachi
男，生于1939年5月13日，福冈
他为大岛渚和若松孝二写下了不少杰出的剧本。
当他还是大学生的时候，他来到了若松的制片公司，要求加入，若松说：欢迎，我会好好折磨你的。足立写剧本很快，两天一个。后来若松回忆起来，说当时的确对他很狠，甚至说：如果下雨，就是你的错。
1971年，足立加入日本赤军，成为领袖之一，后来转战中东，1997年2月15日被黎巴嫩警方逮捕。2000年3月18日被黎巴嫩政府送回日本，在成田机场，足立被日本警方逮捕。

A young prostitute tries to understand why she suffers from melancholy and benumbed feelings. Against a background of sexual liberation and political subversion, this latest libertine work by radical film director M. Adachi is one of the very few existing feminist erotic films. Masao Adachi's personality and films deserve careful consideration. Relatively unknown as yet to Western audiences, he happens to be one of the most radical film-makers around in recent years. Gushing Prayer, shows the influence of Koji Wakamatsu, another enfant terrible of Japanese cinema whom Adachi assisted on many films. Gushing Prayer does not hesitate to show the resentments and dissatisfactions of someone who ought to be nothing more than an object of fantasies. Highly pertinent, with a bold avant-garde style, he sets the record straight as far as the sexual desires of supposedly liberated Japanese women are concerned. One of the rare feminist films of the 70's, it audaciously evokes sexual liberation and political subversion.

根据卡夫卡的同名短篇小说改编，描述了一个“痴迷”饥饿艺术的表演者，从其风靡全城的荣光到被人厌弃的落漠，始终不被真正理解而孤寂痛苦直至无声死去的过程。足立正生是日本著名的左翼导演，在学生时代自主拍摄了《锁阴》一片而引人注目。大学退学后，他加入了著名导演若松孝二的独立公司，编写了以性与革命为主题的大量剧本，1966年首次执导商业性影片《堕胎》。足立正生一直以来其实验性的风格和大胆的作风都时常被大众讨论，此次的题材也一如既往的充满想法。

　　71年夏天，足立正雄拍摄描绘巴勒斯坦人斗争的《赤治-PFLP：世界革命世界革命战争宣言》时，重信正在树林里。 足立随后加入了日本赤路，若松几乎每年都要去黎巴嫩贝鲁特见他们。
　　Hibayama在原宿的中央公寓进出若松Pro，放映电影“赤地-PFLP：世界革命战争宣言”。
　　这种与这些女性的关系，是若松制作这部电影的主要动机。 和登山者一样，他也经历过“那个时代”。 重信和Hajiyama爬上神社的场景也是在若松幕府熟悉的地方新宿黄金街拍摄的。