Nagisa Oshima

Three Resurrected Drunkards

Three Resurrected Drunkards

A trio of bumbling young men frolic at the beach. While they swim, their clothes are stolen and replaced with new outfits. Donning these, they are mistaken for undocumented Koreans and end up on the run from comically outraged authorities. A cutting commentary on Japan’s treatment of its Korean immigrants, this is Nagisa Oshima at both his most politically engaged and madcap.

Film Info

  • Japan
  • 1968
  • 80 minutes
  • Color
  • 2.35:1
  • Japanese

Available In

Collector's Set

Eclipse Series 21: Oshima’s Outlaw Sixties

Eclipse 21: Oshima’s Outlaw Sixties

DVD Box Set

5 Discs


Three Resurrected Drunkards
Kazuhiko Kato
Norihiko Hashida
Osamu Kitayama
Kei Sato
Korean soldier
Mako Midori
Nagisa Oshima
Nagisa Oshima
Masao Adachi
Mamoru Sasaki
Takeshi Tamura
Hikaru Hayashi
Yasuhiro Yoshioka
Keiichi Uraoka
Production design
Yoshi Toda


Eclipse Series 21: Oshima’s Outlaw Sixties
Eclipse Series 21: Oshima’s Outlaw Sixties
Driven to Destruction Nagisa Oshima was a destructive force in Japanese cinema—and he wouldn’t have had it any other way. Intent on exploding taboos and jabbing the eye of the status quo, he created films that leave us with a richly skewed vis…

By Michael Koresky

Kei Sato 1928–2010
Kei Sato 1928–2010
The great Japanese actor Kei Sato passed away last week; he was eighty-one years old. You may not recognize Sato’s name, but if you’ve seen a Japanese film in the past fifty years, there’s a reasonably good chance you’ve fallen, however brief…

By Chuck Stephens


Nagisa Oshima

Writer, Director

Nagisa Oshima
Nagisa Oshima

Japanese cinema’s preeminent taboo buster, Nagisa Oshima directed, between 1959 and 1999, more than twenty groundbreaking features. For Oshima, film was a form of activism, a way of shaking up the status quo. Uninterested in the traditional Japanese cinema of such popular filmmakers as Kurosawa, Ozu, and Naruse, Oshima focused not on classical themes of good and evil or domesticity but on outcasts, gangsters, murderers, rapists, sexual deviants, and the politically marginalized. He began as a studio filmmaker, and had a hit with the jazzy Cruel Story of Youth (1960), but left Shochiku when the powers that be there pulled his politically incendiary Night and Fog in Japan (1960) from circulation. Oshima then struck out on his own, becoming an independent director and even starting a production company, Sozo-sha, where he made such popular and aesthetically diverse films as the pinku eiga, or “pink film,” Pleasures of the Flesh (1965); Violence at Noon (1966), which contains more than two thousand cuts; Sing a Song of Sex (1967), a dreamlike investigation of libidinous, politically confused youth; and Death by Hanging (1969), a surreal, meditative film about social injustice. With his late-seventies international coproductions, the sexually graphic In the Realm of the Senses (1976) and the visually raw ghost story Empire of Passion (1978), Oshima became an art-house sensation in Europe and the U.S., riling moviegoers there much as he had at home. Made in 1999, Oshima’s final film, Taboo, a portrait of homosexual longing among samurai, is the perfect expression of his continued desire to provoke.