Holy Theater

The Stormy Times is a collection of three short films created as a series of visual poems (Dream Running, Grasshopper’s One-Game Match, andWe Can Hear Joe’s Poem). Katsu Kanai screened this films together, along with extra documentary footage, as a memorial to his friend Jônouchi Motoharu.

The Shinjuku district was the epicentre of Tokyo's art scene and the political fever pitch where protests took place on a regular basis during the 1960s. Jonouchi's compilation footage of the area defies documentary imagery and transforms itself into something altogether more poetically subjective, attempting to capture the chaos of the location through his camerawork and editing. In 1974, Jonouchi projected images of the past onto himself whilst reciting Dada-influenced and virtually inaudible poetry generating a cacophony of images and sounds, drawing from and participating in the maelstrom of political and artistic expression during the era.

While attempting to win the affections of a beautiful rival, a master thief risks death to learn the secret intentions of a wealthy and seemingly immortal, but certainly ruthless, recluse.

Lupin squares off with two criminal families and Inspector Zenigata's new female patrol to track down a hoard of biblical-era treasure.

The life of Tatsuya, a young man of proper yet mysterious descent, whose outward respectability hides his urges for rape and torture.

In the new Calendar Year of 392, in Neo-Tokyo, a young man, Agino Jiro, steals a time synchronization system and tries to escape to the past. The authorities give chase and damage his ship in the pursuit, forcing him to land in modern day Tokyo, Determined, he breaks into a van and attaches the device, recklessly kidnapping Nobucho, Shinichi, Teko and their teacher, Hokubei. Their initial resistance force lands them in Tokyo on March 9th 1945, during the US bombing campaign. Escaping again to the past the group eventually arrives at the Warring States period. There the future and the past collide as factions from Jiro's era seek to alter their past at a pivotal moment at Honnoji.

When the villainous Lady Kahn starts building an army of super-powerful espers, Colonel Ryu Yamaki is dispatched to recruit the most powerful superhuman in the known universe to help oppose her. Unfortunately, the esper known only as Locke has either never heard the "with great powers come great responsibilities" speech or he simply doesn't care, and he refuses to leave his peaceful civilian life herding sheep. However, when Lady Kahn makes a preemptive move to take Locke and Ryu out of the picture, the irritated superbeing quickly changes his mind. Now the bad guys are about to learn that starting a fight with someone with super powers that include teleportation, a nearly indestructible force field and space martial arts was a very big mistake!

After botching his latest assignment, a third-ranked Japanese hit man becomes the target of another assassin.

Based on the Chinese classic "Jin Ping Mei". Original Japanese cut directed by Koji Wakamatsu and produced by Shochiku. Set in Song-dynasty China, Wu Song rises to fame and becomes a guard captain. He is captivated by his brother’s wife, Pan Jinlian, whose beauty also ensnares the wealthy libertine Ximen Qing. To possess her, Ximen Qing has Wu Song’s brother murdered. When the corrupt authorities refuse justice, Wu Song is imprisoned, escapes with the help of the Liangshan bandits, and joins their ranks. Ximen Qing descends further into decadence, but Wu Song eventually returns, leading an attack on the town.

Umiemon is a naniwa-bushi singer who travels with his wife to the United States in hopes of achieving fame and fortune.

A young man murders his new bride and goes insane. He wakes in an asylum with no memory, left in the hands of two mysterious doctors who relate his condition with his biological identity.

An aphasic young boy living in South Korea meets, on one of his regular paths, a “Koguryo Beauty” who shows him how to trace his heritage.

During clashes between demonstrators and police that rage on the streets of Tokyo, a young man hides in the house of his brother - a police officer. The latter is accidentally shot by his wife, which forces the young man to flee with her.

Shirō raids the office of the organization that attacked his lover, wreaking havoc and escaping with a stolen handgun. In retaliation, the organization hires two killers to get rid of Shirō. The duo begin to develop a strange kinship with their target...

A popular poet, Goku, becomes depressed when his editor jokingly suggests that he is a sell-out.

A press photographer returns to Japan from the war in Vietnam after losing his friend and fellow photographer on the battlefield.

"A work documenting Ankoku Butoh dancer Tatsuji Hijikata’s Revolt of the Flesh (Nikutai no hanran). The work established the relation between Revolt of the Flesh with uprising through the unique methods of photography and editing that is found in Jonouchi’s Gewaltopia series (1968) which represented the student protest movement." - Collaborative Cataloging Japan

An employee in an assurance company threatens to commit suicide when management announces a massive layoff, the company uses this threat to its own advantage by turning the incident into an advertising campaign. With the success of the campaign, however, he is no longer a desperate man pointing a gun to his head, but a potential leader who wishes to take advantage of his failed suicide.

A young man reaches adolescence and escapes the nunnery where he survived a tortured upbringing; the world outside suddenly seems even more frightening than before.

The title Gewaltopia Trailer has a dual meaning in the Japanese language; one meaning for the word yokoku (trailer) could mean a compilation of extracts to promote a film, but it can also mean a prediction, a prophecy for the future as a Gewaltopia. The film accumulates footage from his earlier films and arranges them in different contexts, a characteristic style of Jonouchi's who often re-edited his films for each screening and provided different soundtracks.

Hi-Red Centre were comprised of Genpei Akasegawa, Natsuyuki Nakanishi and Jiro Takamatsu, who enacted ‘happening’-style performance art in unusual spaces during the early 1960s in Japan. The film is an extremely rare document of one of their early events, where they hired out a room in the Imperial Hotel and invited many friends and professionals in the art scene to participate in the occasion. The performance parodies Cold War fears and the construction of private bomb-shelters, as they diligently measure each guest’s weight and proportions in pretence that they are to build human-size shelters for each individual. Key figures of the art scene make an appearance, including Yoko Ono, video-artist Nam June Paik, noise artist Yasunao Tone, filmmaker Masao Adachi and graphic designer Tadanori Yokoo. A rarely seen and exceptional insight into the Japanese art scene of the era, Jonouchi records the event in his characteristically erratic style.

16mm film by Teiji Aoyama and Izumi Suzuki's last acting performance. Completed shortly before the director's death. The film has not been screened since the 1980s, however, and may be lost

"A film describing some unusual acts by youths attempting to break out of the stifling patterns of culture... daydreaming that yields them nothing. A mob of children enact a burial rite; the place of the 'corpse' is taken by one of the rebellious youths... Beautiful and rare images... one of the best Japanese films." --Iimura

"A work documenting the VAN Film Science Research Center’s space before shut down. VAN, which Jonouchi was a member, was established by the original and new members of the Nihon University Film Study Club (Nichidai Eiken) in Ogikubo section of Tokyo in 1960. VAN was a place where not only filmmakers but also people working in various media, including fine artists, musicians, photographers, and editors, could assemble, serving as an active center for creating historically important works and events." - Collaborative Cataloging Japan

Wols is the pseudonym for a German artist active in the early 20th century, Alfred Otto Wolfgang Schulze, and Jonouchi meticulously filmed nearly fifty of his paintings to construct this cine-collage. The result is reminiscent of Alain Resnais’ rendition of Pablo Picasso’s Guernica, as both filmed interpretations refuse to provide the viewer with a full picture of the paintings, instead fragmenting and splintering the frame.