1968 神々の深き欲望 (1968) 1080P for Gift 1-Disc All RegionPlay Seal Box Blu-ray

Plot Summary

A group of people living far away from the civilized world live on the South Island of Japan. The Taigenji family belongs to the clan of priestesses who worship gods on the island, and their grandfather Yamamori has both divine and non-human personalities. The relationship between Taigenji and his sister Taima was somewhat ambiguous, but Taima was forcibly taken as a concubine by the island's leader Long Liyuan. Turtle Taro is the son of Taiji Taigen. He yearns for a civilized urban life and strongly dislikes the customs of life on the island, but he cannot break the old habits and customs on the island. The people on the island have long relied on growing sugarcane for a living, and now they need to build a sugar factory. A technician from Tokyo went to the island to investigate the water source issue of the sugar factory and suggested using the Great Waterfall as the water source, which was strongly opposed by the island residents. A capitalist wanted to build an airport on the island and needed Taigenji's family to relocate, but Taigenji firmly refused. On the night of worshipping the gods, Taigenji and his sister Taima saw the body of Long Liyuan while rowing out to sea. A group of young people rowed two boats and caught up, and Kametaro was one of them. They used oars to kill Taigenji, while Taima was tied to the mast... The film is adapted from the play "Taboo Islands" and blends sociology and folklore into one, depicting a latent consciousness of the Japanese nation, complex relationships between people, people's confused mental states, repetitive monotonous labor, and indifference to politics... The ending of the film is quite meaningful, and it may not be arbitrary to simply view it as young people's yearning for a civilized society and Taigenji's sanctions against resistance to civilization construction. As one of the representative works of post-war director Akira Imamura, the film is known as a thesis style film, which deeply reveals the potential parental production of Japanese social and ethnic traditions, and proves that this is the soil for the emergence of militarism. The film was ranked first among the top ten best films in Japan in 1968, and Akira Imamura won the director award. In 1971, he won the gold medal at the Roman Religious Film Festival. Selected 200 Japanese business cards.