Critical Analysis of the Film Eros Plus Massacre by Yoshishige Yoshida - Movie Review Example

Audience’s critique may be inclined to express that fragments of the past and of the present in “Eros Plus Massacre” are pieced together in a certain manner that guides comprehension of a twist. It appears quite a venture for Yoshida to have radicalized cinematographic aspects which might have otherwise caused misleading interpretation when the broken parts fail to be ascertained as a whole. Yoshida’s decentralized approach in this project explores the nature of sexuality as it portrays the core function in designating characters according to gender traits and the appeal to feminism wears an unusual tone and attitude.

“Eros Plus Massacre”, nevertheless, concretely illustrates scenes where a woman normally falls as man’s object of desire. Between Eiko and her part-time lover whose sensual moment is caught by the intruding friend and colleague Wada as well as between the same man and the other desperate woman in another scene at a spot in hotel, there occurs an affair of nothing more than physical worth in which undertones of eroticism manifest through moderate visual elements of dynamic nudity.

It may be inferred herein that the principle of Sakae Osugi regarding exaggerated independence in a culture that permits a number of liberated sex relations are carried from his conservative era to a modern age of over forty years later. By a sequence of past-present juxtapositions which had been altogether enhanced by peculiar camera angles and transitions, Yoshida managed to bring across the significance of understanding time as an element from which to compare views, especially how such have evolved as whether they appear subject to change or unaltered due to a couple of similarities between the past and the present.

The scenario at the top of the cliff when Eiko and Wada station themselves back to back on a wooden cross as though to assume a position that depicts punishment or captivity may be perceived to have figuratively coincided with the thematic situation of Osugi and family in a pyramidal structure that resembles a platform for execution. In particular, when Wada and Eiko are led to an academic recollection among the archives of Japanese history, the critical point in the life of Osugi and feminist wife Noe Ito is projected in a momentous setting with their son who would eventually yield to the misfortune of being massacred.