i be no slouch at find redeem social value . whatever book or film people want to suppress and from huck finn or heart of darkness to and i do not know and deep throat or the late hostage beheading and i sincerely wish they wouldn not . i be not a lover of porn or of violence a entertainment and but what of them i chance upon i tend to see camera angle and cut and pan and light and rhythm and nearly to the exclusion of fear or titillation and sometimes even miss filmmaker or actor intent . even from footage that reasonable people may argue should never have exist and i always imagine there something to learn . i wonder more at how a film do than about what it do . maybe that wrong of me . wiser but hard than deconstruct unpleasant cinema and might be to see cut and pan and etc . and at one with and inseparable from no matter what content . i ask myself what horror filmmaker and church architect have in common . add in political filmmaker and fascist and not . all manipulate with light and space and and sound in order to alter perception and mood . how different be their goal . how different be the goal of those who film real atrocity for use a propaganda . when the original all night long ( anl ) trilogy appear on my shelf and i leave it unwatched for nearly year . curiosity have make me buy it . i sample a few minute of 1 the day it arrive and up to the awkwardly sound effect street corner stab that seem really an attack on film viewer sensibility and find it inept but effective . i would have to come back to it and certainly and but do not relish the prospect . clearly this wasn not the sublime horror of kairo and cure and angel dust and lain and the rawer but still traditionally frame horror of the first evil dead trap and the overtly political work of koji wakamatsu and or even the brilliant crudity of early cronenberg . maybe that word attack be key . matsumura attack not his character and but his viewer . i can not watch these at this point in history without thinking of both abu garib ( some of which i think i recall be evidence on video ) and the hostage video and but also about godard torturer ( in le petit soldat . ) to whom atrocity be just a job and a fraction of a person workday . and then there the prolonged northern california news story whose detail i barely remember but can not entirely forget because it too entail cinema and a duo of serial killer notorious and if suggestion isn not play game with my memory and for have videotape themselves torture victim . all three anl entry be revenge cinema and vigilante exercise and but i be attach these note anl3 because it the most ambitious and may constitute a turning point for director matsumura . ( i haven not see the entry that follow anl3 . ) through the first two offering and i imagine a camera fall into the hand of one of those fringe kid from middle or grammar school who obsessively draw war scene or other atrocity . ( or a if one of matsumura revenge craze character have turn writer director . anyone watch these who hasn not see michael powell peep tom would do well to see it . ) but anl3 seem to aspire to mainstream . matsumura protagonist grows carnivorous plant and allow for some typically japanese cool close up nature shot . there also and for the first time a matsumura film and a traditionally erotic sequence represent kikuo female bos sneak up and begin to caress him while he peep at the love hotel customer . kikou find himself unhappily sandwich between . he a middleman voyeur . the brief thrill come from the layer of voyeurism . there even a philosophical or poetic garbage sifter and a garbage voyeur who somehow make me think of the poem repeat in wakamatsu not at all what it sound like go and go and secondtime virgin . i be get nowhere with this and and it get in the way of my comment other film . can not escape the suspicion that a few year on i will walk into a matsumura retrospective at my local film archive and maybe host by some learned character who catch onto something i be miss . how much do it matter whether the director be or simply get his lethally muddle protagonist . do he even have to understand them . maybe a director job be just to spew it out and then let critic and sociologist and and the rest of u hash thing out . maybe directorial or artistic responsibility be a bogus notion . my final struggle with this thing have me wonder what on earth a woman think watch these overwhelmingly male exercise . we put woman through this over and over and from star war to et cetera and et cetera and on and on and on and on and but be anything quite a male skew a the all night longs .