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Masao Adachi 足立正生



No Dialogue

The Bowl

中国大陆首映 Chinese Mainland Premiere

A man commits an unmotivated murder of his own mother, but the people of his village could only accept the fact that the mother was dead. A funeral is held with his younger sister acting as the main family representative but with the parricide unacknowledged and the man excommunicated from the village community, he attempts to destroy the funeral ceremony. The failure of the Anpo struggle of 1960 is told metaphorically through the story of a barren village rooted in traditions. By using restrained compositions with highly contrasted black-and-white images and no dialogue, the film depicts the heavy and dreary situation of its time. The fourth film by the Nihon University Film Studies Club (Nichidai Eiken) and the first since changing its name to Nihon University New Film Studies Club (Shin Eiken). It was first screened alongside Kyoto University Cinema Club’s It was first screened alongside Kyoto University Cinema Club’s Mu and Kwansei Gakuin Film Studies Club’s Delta at the Sixth All-Japan Student Film Festival, but the film’s wide acclaim extended beyond the student film circuit. Alongside fellow Eiken members Motoharu Jonouchi and Isao Okishima, Adachi emerged as one of the lead

一名男子在毫无动机的情况下杀害了自己的母亲,但村里人只接受其母死亡的事实,拒绝承认他的弑母行为。男子被逐出村庄,并试图破坏由其妹作为代表全家出席的葬礼。影片通过一个根植于传统的贫瘠村庄的故事隐喻1960年反对《日美安保条约》斗争运动的失败,其克制的构图、对比强烈的黑白影像和无对白的画面,描绘了当时沉重、阴郁的状况。《碗》是「日本大学映画研究会」的第四部电影,也是更名为「日大新映研」后的第一部电影。在第六届全日本学生映画祭上,本片与京都大学映画部的《Mu》和关西学院大学映画研究会的《Delta》一同首映,获得广泛赞誉。足立由此出道,并与城之內元晴、冲岛勋等新映研成员一道成为 60 年代东京实验影坛的先锋力量。

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Masao Adachi 足立正生

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