The Desire of the Gods

This film (drama)Also known as神々の深き欲望，is aJapanProducerwomen sex，At1968Released in year 。The dialogue language isJapanese，Current Douban rating8.4(For reference only)。

A group of people living far from the civilized world reside on a southern island of Japan. The Taigenji family belongs to the lineage of the island's shrine maidens, with their grandfather, Yamamori, possessing both divine and non-human traits. The relationship between Taigenji and his sister Taima is somewhat ambiguous, and Taima is forcibly taken as a concubine by the island leader, Ryuu Tachibana. Kame Taro is Taigenji’s son, who yearns for the civilized life of the city and is deeply resentful of the island's customs, yet cannot break free from the island's entrenched traditions. The islanders have long relied on sugarcane farming for their livelihood and now need to build a sugar factory. A technician from Tokyo comes to investigate the water source issue of the factory, suggesting using the great waterfall as a water source, which elicits strong opposition from the island residents. A capitalist wants to build an airport on the island, requiring the Taigenji family to relocate, but Taigenji firmly refuses. On the night of the deity ceremony, while Taigenji and his sister Taima are out at sea in a boat, they encounter the corpse of Ryuu Tachibana. A group of young people in two boats chase after them, with Kame Taro among them. They beat Taigenji to death with paddles, while Taima is bound to the mast…The film, adapted from the play "The Forbidden Isle," melds sociology and folklore to depict a latent consciousness of the Japanese nation, the complex relationships between individuals, people's disoriented mental states, monotonous repetitive labor, and indifference to politics... The ending of the film is quite meaningful; to simply regard it as the youth's longing for civilized society and the punishment of Taigenji for resisting civilized development may be somewhat simplistic. As one of the representative works of post-war director Masahiro Shinoda, the film is referred to as an essayistic film, deeply revealing the patriarchal undercurrents in Japanese social and national traditions that foster militarism. The film was ranked first among the ten best Japanese films of 1968, and Masahiro Shinoda won the directing award. It won a gold award at the 1971 Rome Religious Film Festival and is among the top 200 classic Japanese films.