Yet another film from Oshima's glamorous ATG period. Ripped and released by whistles@FSS. English and French subtitles.

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Now I can die happy, 15 September 2002

Author: nakkas (from between your ears)

Amazing! This Nouvelle Vague-influenced Japanese flick contains everything a regular cinephile could possibly want: avantguard kabuki theatre, sloshed japanese men discussing the sexual revolution and a guy chasing his girlfriend with a strap-on dildo through the streets of Tokio. Duh!

(imdb.com)

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The title character, played by Tadanori Yokoo, takes the first step on the road to ruin when he steals an inconsequential item from a bookstore. Caught in the act by the shopgirl (Rie Yokoyama), the shoplifter becomes the girl's sexual partner-and virtual slave. The film is rife with erotic symbolism that will be lost on no one. Originally titled Shinjuku Dorobo Nikki, Diary of a Shinjuku Thief is director Nagisa Oshima's homage to controversial French author (and unregenerate thief) Jean Genet. ~ Hal Erickson, All Movie Guide

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One of Oshima Nagisa's most cinematically daring films, Diary of a Shinjuku Thief was the second production between the Art Theatre Guild and his company Sozosha. In this film, Oshima extracts some personality traits for his protagonist from Ri Chin'u (the Korean murderer largely inspired the earlier film Death by Hanging), who stole foreign literature from the library, and was especially fond of Dostoyevsky and Goethe.

The film is set mostly in a multi-storey bookstore, the Shinjuku Kinokunya, (which is one of the largest in Tokyo, and a centre for intellectuals, artists, and young children) and the larger Shinjuku area, featuring its bars, restaurants, and community. We're initially introduced to an actual theatre troupe, Juro Karo Situation Players, who strike down any idea of realism in the film, but as the action unfolds the main character and Shinjuku thief, Birdy Hilltop, emerges. Sexuality, theatre, and politics clash.

Oshima uses this film to stage a violent revolt against preconceived ideas of acting and thievery, blending the two and redefining them. Oshima scholar Maureen Turim says that "its unrestrained and playful gestures grasp the topical as street theatre", and David Desser claims "it denies us a single level" and of the actors "they play themselves, they play characters, and Oshima plays with the film."

(www.japanesenewwave.com)

He pillado subtitulos en italiano. En cuanto acabe con maison ikkoku me pongo con esta

Altorrrr!! Creo que C.B. Umasa los estaba terminando. Lo confirmo en un par de dias. Los traducia del francés.
Gracias por eso pazguaton. Si quieres sigue...pero podrias coger otros