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France, 2011

Production : Éric Baudelaire

Programmed by Antoine Thirion


The political and personal epic of the Japanese Red Army is recounted as 
an Anabasis, a journey that is both a wandering towards the unknown and a return towards home. From Tokyo to Beirut amid the post-1968 ideological fever, and from Beirut to Tokyo at the end of the Red Years, the thirty-year trajectory of a radical fringe of the revolutionary left is recounted by two of 
its protagonists.

Tënk's opinion

Why film? A possible subterfuge to this key question could be to do it, modestly but urgently, at the request of the subject of our film. Here it’s in exchange for his participation in Eric Baudelaire’s film that the revolutionary filmmaker Masao Adachi has made a request from Japan, where he’s currently under house arrest, with all the images taken while in exile in Lebanon having been destroyed during clashes. It’s also to give these images to May’s account of her childhood, images that were previously banned in case of reprisals against the political activism of her mother, Fusako Shigenobu, leader of the Japanese Red Army. We know the extent to which the dialogue of correspondence and letters is central to Eric Baudelaire’s work. Like time capsules, they try and overcome the reality of distance and exile, rebuilding the broken bridges between political ideals and historic reality, guiding a lost past towards a possible future.

Antoine Thirion, programmer Locarno Film Festival

Item 1 of 4
Item 1 of 4

Item 1 of 4