Retrato surrealista de varios transexuales en el Tokio de los años 60. La película narra los acontecimientos que envuelven la vida de Eddie y otros miembros de la comunidad trans de Tokio en la escena underground. El título de la película es un juego de palabras. «Bara», que significa rosa, es un término japonés que sirve para designar peyorativamente a los homosexuales.
Ficha técnica
- Título original: 薔薇の葬列 Bara no Sōretsu
- Dirección: Toshio Matsumoto
- Interpretes: Pītā, Osamu Ogasawara, Yoshio Tsuchiya, Emiko Azuma
- País e idioma: Japón. Japonés
- Año: 1969
- Duración: 107 minutos.
- Programa: Transgresiones
- Edición: 2026
- Distribución: Arbelos
- Notas de restauración: Restauración 4K por Cinelicious Pics. Distribuida en salas y de forma doméstica por Arbelos
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Without giving too much away, Funeral Parade of Roses is partly a loose modern queer rewrite of the Oedipus myth, although how and why it is doesn’t fully become clear until the end—when we witness the supremely paradoxical use of a subjective shot depicting the point of view, as it were, of an Oedipus figure who has just gouged out both his eyes. For the most part, however, Funeral Parade comes across as a free-form evocation of an unofficial coalition between two outsider communities in Tokyo: on one side, cross-dressers and other young gay men (the Japanese term being geiboi), and on the other, avant-garde artists.
It’s their bitter rivalry, both professional and romantic, that forms the backbone of the loose, non-linear plot. Leda (Osamu Ogasawara), the reigning madame of Bar Genet, begins to suspect Gonda (Yoshio Tsuchiya), her boyfriend and the bar’s owner, of sleeping with glamorous up-and-coming hostess Eddie (played by Peter, a famous trans entertainer in Japan who later appeared in Akira Kurosawa’s Ran) behind her back. Her suspicions are well founded, as Gonda is not only cheating but also planning to ditch her entirely and cement Eddie both as his new permanent squeeze and as a younger, hipper queen bee of Bar Genet.
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