As the film moves beyond the framing device into the trial itself, the sequence of events is explained, in turn, by the notorious bandit Tajōmaru, the samurai's wife, and the deceased samurai (as channelled by a croaky court-appointed medium). It's confirmed early on by Tajōmaru himself that he killed the samurai and raped the samurai's wife, but each person's rendition hinges on wildly differing interpersonal dynamics and tone. Less an inquisition into murder or sexual assault than a bureaucratic facade, each retelling is a performance built on appeals to existing prejudices.
is the man who frees himself from those fantastic “ideas” [the characterological lie about reality] and looks life in the face, realizes that everything in it is problematic, and feels himself lost. And this is the simple truth—that to live is to feel oneself lost—he who accepts it has already begun to find himself, to be on firm ground. Instinctively, as do the shipwrecked, he will look round for something to which to cling, and that tragic, ruthless glance, absolutely sincere, because it is a question of his salvation, will cause him to bring order into the chaos of his life. These are the only genuine ideas; the ideas of the shipwrecked. All the rest is rhetoric, posturing, farce. He who does not really feel himself lost, is without remission; that is to say, he never finds himself, never comes up against his own reality.
More than 150 independent movie theaters across the United States have temporarily closed to slow the spread of COVID-19. The Art-House America Campaign aims to provide financial relief to struggling independent cinemas across the country so they can pay staff and their essential bills and survive until it is safe to reopen their doors
Funds are intended to support essential payments during closure. Essential payments include those for payroll, insurance, rent, non deferrable loans, utilities, fundraising, and mortgages. Funds cannot be used for equipment purchases, future programming, or executive compensation. Donations will go into a general fund and then be distributed to theaters; donors cannot designate funds for a specific theater's relief.
Will movements like Extinction Rebellion with non-violent civil disobedience and new forms of democracy, such as citizens' assemblies, succeed in making the fundamental changes possible that are necessary for a future worth living? How do the corporations and governments that are destroying our world for their profits react to the protest movements that emerged in 2019? How could the social and political conflicts develop in the coming months, that are decisive for our opportunities to actively shape the fundamental change that our societies will experience as a result of the climate crisis and ecosystem destruction? Which narratives and tactics can social movements be most successful with?