It’s almost trite to say Kazuo Hara’s second documentary ‘crosses boundaries,’ since every documentary is on some level about the fact that it’s a documentary — forcing you to consider the author, the subject, and yourself as participants in the documentation.

That said, EXTREME PRIVATE EROS: LOVE SONG 1974 is remarkably intimate, covering the years following the director’s breakup with Miyuki Takeda as she embarks on a journey of self-discovery. As they both chart new courses in life — him with his new girlfriend and fellow filmmaker, Sachiko Kobayashi; her exploring sexuality, taboo relationships, parenthood, and many forms of self-expression — they remain the shared subject of a film so personal, so volatile, that it’s almost violent.

Give to these causes in need during ICE’s occupation of Minnesota:

@sanctuarysupplydepot: Mutual aid group in Mpls getting basic necessities to our houseless neighbors https://linktr.ee/sanctuarysupplydepot
Support Minnesotans defending their communities from ICE: https://www.standwithminnesota.com/
@mplsmutualaid: Clearinghouse of mutual aid for our neighbors: https://linktr.ee/mplsmutualaid
ISAIAH, an interfaith group fighting for racial and economic justice in MN: https://secure.everyaction.com/G8TCnxFlE0qd9zlUEYjjeg2
Show love to North Minneapolis families in crisis: https://www.gofundme.com/f/show-love-to-north-minneapolis-families-in-crisis

References:

“Okinawa, Baby: Exploration, Exes, & Extreme Private Eros” by Chelli Riddiough for Perisphere, the Trylon blog
“Give to the Trylon’s Film Forever Fund so they never have to increase ticket prices!
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Contribute to Perisphere, the Trylon blog

#TheUndiscoveredGeniusOfKazuoHara #DCP

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Show art by Emily Csuy. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro: “I Gotcha” by Joe Tex as heard in EXTREME PRIVATE EROS: LOVE SONG 1974.

Timestamps

0:00 - Episode 366: EXTREME PRIVATE EROS: LOVE SONG 1974 (1974)

2:28 - The Patented Aaron Grossman Summary

3:35 - Aaron doesn’t like documentaries

12:51 - The work of Kazuo Hara

19:43 - The “point” of documentaries

24:07 - “Narrativerite” and a sense of “antagonism”

34:25 - Miyuki Takeda

41:35 - “Violence” and the “peaks” that end up on film

48:37 - LOVE SONG 1974 as a breakup movie

56:57 - How Miyuki is presented to the audience

1:05:07 - The Junk Drawer

1:12:23 - To All the Loves We’ve Tried Before: 1974

1:24:22 - Cody’s Noteys: The House of Champions: 1974 (a bracket to choose the best film of 1974)