This movie gave MatsuJun’s his very first adult role (which shocked many of his fans)
He acted alongside his sempai Okada Junichi of V6.
Act: Those love scenes, how was the Koji that you saw yourself?
Jun: It’s my impression so I can’t be sure but, I liked Koji’s ‘dirty’ feel. Okada-kun’s Toru has an incredibly…refined feel to him doesn’t he? In the way of being an antithesis to that…there was a moment when I’d just started playing Koji that I thought ‘this guy’s extremely dirty huh’…even his face spins away from dignity. But Koji doesn’t think anything of getting dirty. Because I thought it was good like that I’m glad that it came out like that.
Sekigahara - In order to end the Sengoku period and determine a ruler for the new era, on October 21, 1600 the Battle of Sekigahara takes place between the Western Army, led by Mitsunari Ishida, and the Eastern Army, led by Ieyasu Tokugawa, who attempts to keep a hold of the nation within his greedy grasp. Even though the Western Army are believed to outnumber the Eastern Army, they take losses on the battlefield. A hidden truth exists. Hatsume was sent to spy on Mitsunari Ishida, but falls in love with him. (Source: My Drama List)
Provoke: Between Protest and Performance - Photography in Japan 1960-1975
Shomei Tomatsu, Takuma Nakahira, Editor, 1964.
東松照明, 「編集者 中平卓馬」
The short-lived Japanese magazine Provoke, founded in 1968, is
nowadays recognized as a major contribution to postwar photography in
Japan, featuring the country’s finest representatives of protest
photography, vanguard fine art and critical theory in only three issues
overall. The magazine’s goal was to mirror the complexities of Japanese
society and its art world of the 1960s, a decade shaped by the country’s
first large-scale student protests. The movement yielded a wave of new
books featuring innovative graphic design combined with photography:
serialized imagery, gripping text-image combinations, dynamic cropping
and the use of provocatively “poor” materials. The writings and images
by Provoke’s members-critic Koji Taki, poet Takahiko Okada,
photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama-were
suffused with the tactics developed by Japanese protest photographers
such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at
and criticized the mythologies of modern life. Provoke
accompanies the first exhibition ever to be held on the magazine and its
creators. Illuminating the various uses of photography in Japan at the
time, the catalogue focuses on selected projects undertaken between 1960
and 1975 that offer a strongly interpretative account of currents in
Japanese art and society at a moment of historical collapse and renewal.