While dealing drugs on the side, Gonda operates the Genet, a gay bar in Tokyo where he has hired a stable of transvestites to service the customers. The madame or lead "girl" of the bar is Leda, an older, old fashioned geisha-styled transvestite with who Gonda lives and is in a relationship. Arguably, the most popular of the girls working at the bar now is Eddie, a younger, modern transvestite. Like Leda, Eddie lives openly as a woman. Eddie's troubled life includes her fathe... (Full plot summary below)
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While dealing drugs on the side, Gonda operates the Genet, a gay bar in Tokyo where he has hired a stable of transvestites to service the customers. The madame or lead "girl" of the bar is Leda, an older, old fashioned geisha-styled transvestite with who Gonda lives and is in a relationship. Arguably, the most popular of the girls working at the bar now is Eddie, a younger, modern transvestite. Like Leda, Eddie lives openly as a woman. Eddie's troubled life includes her father having deserted the family when she was a child, and having had a difficult relationship with her mother following, she who mocked Eddie's ability to be the man the of the family. Gonda enters into a sexual relationship with Eddie, who he promises to make madame of the bar, replacing Leda in both facets of his life, with Eddie having threatened to quit otherwise. While Leda suspects what Gonda and Eddie are up to, Gonda tells Leda what she wants to hear, much as he tells Eddie what she wants to hear. As this triangle plays itself out, what actually happens is affected by a joint history between Gonda and Eddie of which they are unaware. This film teeters between fiction and non-fiction as a secondary story is Eddie's friendship with a group of counter-culturalists, including filmmaker Guevara, whose making of a movie mirrors the making of this film. That balance tips into non-fiction as the actual actors in this and Guevara's movie talk about issues covered in this film, such as drug use, and sexuality, especially transvestism as the transvestite characters are played by real life transvestites.
Leave your thoughts about Funeral Parade of Roses.
| Audiences EverywhereNathanael HoodAt times it feels like we're watching the birth pains of a new strain of queer cinema, one both beautiful and tragic, unapologetic and glorious. |
| Film Journal InternationalDavid NohAt once over-the-top camp and an invaluable artifact of a vanished gay age. |
| Hollywood ReporterJohn DeForeA cheeky and provocative experimental look at a largely unknown subculture. |
| Film Comment MagazineJonathan RomneyIt imparts the thrill of witnessing the hedonism and lawlessness-both sexual and artistic-of a bygone culture. You also feel an almost tragic surge of melancholia watching it: where and when, you wonder, will cinema ever get quite this wild again? |
| The Movie SleuthMichelle KisnerAt times the film can feel like a surreal dream and it can shift without warning back to reality. |
| CinemacyMorgan RojasWhile the normalization and societal acceptance of trans people are becoming more mainstream, the technique and way in which Matsumoto created this buzzy, gritty, and subversive world have still gone unmatched in modern cinema. |
| The Stranger (Seattle, WA)Robert HamA gender-fluid take on Oedipus Rex that takes cues from Jonas Mekas (who's name-checked in the film), Seijun Suzuki, and Andy Warhol, Funeral is a frenetic hodgepodge of styles and moods. |
| Slant MagazineJesse CataldoThe film is caught somewhere between freeform sketch comedy, gonzo documentary, and irony-soaked Warholian melodrama. |
| The Sunday AgeCraig MathiesonMatsumoto's luscious black and white cinematography is ruptured by stylised desire, high melodrama, Jean-Luc Godard dictates, street cinema verite, experimental inserts, and some of the most evocative close-ups of eyelashes you'll ever see. |
| User ReviewChelsea TThe first "gay-themed" Japanese film? Hmmm. Certainly a great one! Dig the dance sequence- what's that groooovy song?! |
