![]() The first is a biwaplayer who, in the film’s opening section, is blinded by a mystical sword lost in a battle between two clans wrestling over the shogunate two centuries earlier. Tomona (Mirai Moriyama) and Inu-oh (trans musician Avu-chan) are the Keith Richards and Mick Jagger of Muromachi-era Kyoto. Retrofitting medieval Noh as a world of guitar gods and cavorting dancers, Inu-oh has its two disabled lead characters make a psychedelic plea in favour of slipping loose from dominant narratives, told in a fecund patchwork of styles by Yuasa that asserts its own outsider credentials. But things quickly get pretty wild: Hendrix-ish behind-the-head lute shredding, phantom samurai breakdancing, giant whale lightshows. ![]() ![]() A nime maverick Masaaki Yuasa’s 14th-century rock opera gets off to the most traditional start possible with some stark Noh-style declaiming. ![]()
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