Admission fee free

In 2016, the dramatic film “Bengyoji” was made by the genius Takane Tsuyoshi taking a megaphone. While going back and forth between the present and the past, reality and dreams, it depicts “Island Push” and the memories of people living after it. What kind of film language depicts the historical present of Okinawa? As a “form of memory that resists oblivion,” what does Takane's attempt at film art throw at the present day of Shimajima, which continues to be bewildered? While intersecting film, art, literature, history, and various perspectives, he talks about the narrative of memories in “Bingyo Road.”

●Symposiums
Crosstalk:
Okuma Katsuya (video artist)
Sakumoto Kana (Japan Society for the Promotion of Science/Okinawan Literature)
Hama Haruka (Yamagata International Documentary Film Festival Tokyo Office)
Wakabayashi Chiyo (Okinawa University University/Okinawa Modern History)
Response: Takane Tsuyoshi (film director/planned)
Chair: Kiyoshi Kabe (Okinawa University University/Okinawan Literature)

●Film screening Takane Tsuyoshi “Bingyoji” 2016/80 minutes
Okinawa University Mini Theater (free/first 45 people each time)
1st screening 12:00
2nd screening 17:00

✕ years after that intense “island bushou,” Patai village is where only those who have lost their lives live. Together with his best friend Papa Joe, Targani lives modestly while running a “revival” business for suicidal people who have despaired of this world. One day, Targani and Papa Joe are suspected of stealing a banned aphrodisiac. Mysterious women chase the two who ended up escaping the village, and men who don't know if they are alive or dead. Eventually, the boundary between what is chased and what is being chased disappears, and the time axis remains “strange,” and it enters the mythical realm of the island's history,
In this film, Susumu Taira and Saburo Kitamura, the major figures who support the backbone of the Okinawan play, which Takaryo Tsuyoshi respects, play the leading roles, and OSHIRO Misako, the master of Okinawan folk music called Okinawa's Billy Holiday, plays music with a presence that can be said to be the muse of Takane Eiga.
Also, many contemporary artists, led by Chikako Yamashiro, an artist based in Okinawa, are putting effort into constructing a unique world of art that has nothing to do with Okinawa or Asia.
As for music, the group ARASHI by Sakata Akira, a master of avant-garde jazz, provides an avant-garde and energetic sound source at the request of director Takane, adding a touch of glamor to Takane Tsuyoshi's new frontier.
Takane Tsuyoshi's “Bengyoji,” a genius who has presented numerous works from 8mm film to digital on the Okinawa stage, now misleads and shoots in the lukewarm present day.