An exhilarating voyage into the shadowy Tokyo underworld of the late '60s is provided by Funeral Parade of Roses, a frenetic clash of avant-garde style and grind-house horrors. It seems that nothing is taboo in Toshio Matsumoto's contentious debut feature: neither the infusion of visual flourishes right from the worlds of contemporary graphic-design; not the unvarnished depiction of nudity, sex, drug-use and public restrooms. But, of all the "transgressions" on display, there is arguably one that stands out the most: the film's revolutionary and unapologetically positive representation of Japanese gay society.
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An exhilarating voyage into the shadowy Tokyo underworld of the late '60s is provided by Funeral Parade of Roses, a frenetic clash of avant-garde style and grind-house horrors. It seems that nothing is taboo in Toshio Matsumoto's contentious debut feature: neither the infusion of visual flourishes right from the worlds of contemporary graphic-design; not the unvarnished depiction of nudity, sex, drug-use and public restrooms. But, of all the "transgressions" on display, there is arguably one that stands out the most: the film's revolutionary and unapologetically positive representation of Japanese gay society.
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