Masao Adachi: A Pioneer of Political Cinema in Japan

Masao Adachi, an influential figure in Japanese cinema, has long utilized film as a medium to explore political themes and societal issues. His recent works, including *Escape*, delve into the life of Satoshi Kirishima, an anarchist whose mug shot became iconic in Japan. This film, along with the retrospective at the Institute of Contemporary Arts (ICA) in London, coincided with the life imprisonment sentencing of Tetsuya Yamagami, the assassin of former Prime Minister Shinzo Abe. Adachi's films often reflect the tumultuous political landscape of Japan, challenging viewers to confront the realities behind historical narratives.

The Guardian

Born in 1939, Adachi's formative years were marked by Japan's post-war transformation, including the U.S. military occupation and the political rehabilitation of figures like Nobusuke Kishi, a key architect of Japan's Liberal Democratic Party (LDP). Adachi became politically active during his university years, participating in the Anpo demonstrations against the renewal of the U.S.-Japan security treaty in 1960. This period of activism left him disillusioned with the political system, prompting a shift in his focus towards filmmaking as a means of political expression.

The Guardian

Adachi's early works were deeply intertwined with the political movements of his time. He credits films like Nagisa Oshima's *Night and Fog in Japan* for inspiring him to confront political issues through cinema. As Japan faced a resurgence of student activism in the late 1960s, Adachi noted that many young radicals were influenced by global movements, such as the May 1968 protests in Paris. He observed that the radicalization of youth was partly rooted in Japan's historical oppression of other East Asian nations during World War II.

The Guardian

In discussing Yamagami's motivations for assassinating Abe, Adachi draws parallels between the current political climate and the activism of the 1960s and 70s. He argues that Yamagami's actions stemmed from personal grievances rather than collective ideology, reflecting a broader trend of individualism in contemporary Japan. Adachi critiques the current political landscape under Prime Minister Sanae Takaichi, warning against the rise of right-wing nationalism and the potential erosion of Japan's pacifist constitution.

The Guardian

While Adachi acknowledges a resurgence of political themes in contemporary Japanese cinema, he expresses concern over the lack of radical expression in recent films. He advocates for young filmmakers to engage with political issues, emphasizing the importance of cinema as a tool for social critique. Adachi's ongoing commitment to political cinema underscores the need for artistic voices that challenge prevailing narratives and inspire collective activism.

The Guardian

• “and his smiley face’ Photograph: Eugene Hoshiko/AP “The fact I want to point out is that there was a certain idea and myth around Kirishima, a certain image was kind of wrapped into people’s minds.” — Masao Adachi, Filmmaker

The Guardian

• “What [Yamagami] did was not linked to something that can be described as collectivism.” — Masao Adachi, Filmmaker

The Guardian

• “It may seem [that] Japan is becoming more and more rightwing, [but] actually not many people support this direction.” — Masao Adachi, Filmmaker

The Guardian

Adachi's work continues to resonate as a vital commentary on Japan's political landscape, urging both filmmakers and audiences to reflect on the complexities of history and activism.

The Guardian