Funeral Parade of Roses

Director Toshio Matsumoto’s shattering, kaleidoscopic masterpiece is one of the most subversive and intoxicating films of the late 1960s: a headlong dive into a dazzling, unseen Tokyo night-world of drag queen bars and fabulous divas, fueled by booze, drugs, fuzz guitars, performance art and black mascara. No less than Stanley Kubrick cited the film as a direct influence.

An unknown club dancer at the time, transgender actor Peter (Kurosawa’s RAN) gives an astonishing Edie Sedgwick/Warhol superstar-like performance as hot young thing Eddie, hostess at Bar Genet—where she’s ignited a violent love-triangle with reigning drag queen Leda (Osamu Ogasawara) for the attentions of club owner Gonda (Yoshio Tsuchiya).

One of Japan’s leading experimental filmmakers, Matsumoto bends and distorts time, freely mixing documentary interviews, Brechtian film-within-a-film asides, Oedipal premonitions of disaster, his own avant-garde shorts, and even on-screen cartoon balloons, into a dizzying whirl of image and sound.

Whether laughing with drunken businessmen, eating ice cream with her girlfriends, or fighting in the streets with a local girl gang, Peter’s ravishing Eddie is something to behold.

“She has bad manners, all she knows is coquetry,” complains her rival Leda—but in fact, Eddie’s bad manners are simply being too gorgeous for this world.

A key work of the Japanese New Wave and queer cinema, restored from the original 35mm camera negative and sound elements.

Presented in Japanese language with English subtitles.

(CW: This film contains scenes that could be viewed as controversial, offensive, or even triggering.)