Sakumi Hagiwara

Dans les quartiers glauques d'un Osaka écrasé par un soleil de plomb, Tome, tout comme sa mère, est une prostituée désinvolte qui passe de client en client sans état d'âme. Rien ne semble l'atteindre : ni ses disputes constantes avec sa mère qui l'accuse de lui voler des clients... ou son amant, ni l'appétit sexuel de son frère attardé mental, qu'elle satisfait d'ailleurs avec indifférence. Tant qu'elle n'a rien à perdre, elle se sent libre. Mais elle se rend bien compte que tout cela risque de changer un jour.

The documentary to find the "true Shuji Terayama".

Lacking a coherent plot, We're All Riding on a Circus Elephant depicts the collapse of western civilization as a free-form collage advocating group anarchy and actor improvisation. The stage is a boxing ring. Those actors who are "onstage" get into the boxing ring and assault each other with words. Others heckle and cheer at the sidelines, or act as a rhythm-and-blues chorus while changing costumes or wigs. Taking as its coda Andy Warhol's dictum that everyone gets fifteen minutes of fame, actor transformations depict the Breakdown of Japanese values and selfhood due to an obsession with popular American culture.

A fixed camera photographs a fog shrouded landscape, at first totally white but then gradually revealed. The music is 'Japanified concrete'

Originally made for the 100 Feet Film Festival hosted by Image Forum. However, to test the limits, Terayama Shūji willfully made use of 3 projectors to project 300 feet of film at the same time.