While much has been written about Nobuhiko Ôbayashi’s manically warped Hausu (1977) since its US release by Janus Films more than thirty years after it’s original release, Ôbayashi remains obscure outside of his native Japan. Yet, his significance as a filmmaker there is irrefutable. Beginning in the ’50s and ’60s, Ôbayashi was one the pioneering experimental filmmakers working in the country, and established a longstanding relationship with the Art Theater Guild — a group dedicated to the production and distribution of radical and avant-garde cinema and associated with other such luminaries as Toshio Matsumoto, Susumu Hani, and Shūji Terayama. While Ôbayashi went on to make many commercially successful features later in his career (and is still an active filmmaker), he never abandoned his anarchic style or surrealist leanings. In simple terms, Bound for the Fields… is a rare chance to see more work from the legendary filmmaker and perhaps get some perspective on what kind of mind could produce such a film as Hausu.
–Stefan Grabowski, Boston Viewfinder
Bound for the Fields, The Mountains, and the Seacoast (Noyukiyamayukiumibeyuki)
dir. Nobuhiko Ôbayashi
Screens with the Ôbayashi short film Complexe (1964)
Part of the ongoing series: Almost Like a Horror Film. The Cinema of Nobuhiko Obayashi