{"product_id":"funeral-parade-of-roses-薔薇の葬列-ultra-rare-original-japanese-video-release-poster-1988-toshio-matsumoto-atg-paramount-video","title":"“Funeral Parade of Roses” (薔薇の葬列), Ultra-Rare Original Japanese Video Release Poster 1988, Toshio Matsumoto \/ ATG, Paramount Video R18","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese promotional poster issued for the 1988 Paramount Video release of Toshio Matsumoto’s \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eFuneral Parade of Roses\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e. An internationally celebrated landmark of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapanese New Wave and queer cinema\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film remains one of the most visually adventurous works to emerge from Japan’s late-1960s underground.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eultra-rare video-release poster is exceptionally difficult to find, even in Japan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Its extraordinary combination of monumental portraiture, saturated colour, floral collage, butterflies, and tinted film stills captures the film’s mixture of glamour, psychological unease, and experimental freedom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFilm background\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginally released in Japan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e13 September 1969\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFuneral Parade of Roses\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was written and directed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eToshio Matsumoto\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and produced by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMatsumoto Productions and the Art Theatre Guild of Japan (ATG)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSet within the bars, streets, and underground artistic circles of contemporary Tokyo, the film follows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eEddie\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a young hostess at Shinjuku’s Bar Genet, played by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePeter, also known as Shinnosuke Ikehata\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Eddie’s relationship with the bar’s owner, Gonda, brings her into conflict with its established hostess, Leda, setting in motion a story of desire, jealousy, and concealed family history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eYoshio Tsuchiya\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, familiar from his performances in Akira Kurosawa’s films, plays Gonda, while \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsamu Ogasawara\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appears as Leda. Peter’s performance gives the film its magnetic centre, combining confidence and irreverence with increasing vulnerability.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLoosely reworking \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSophocles’ \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eOedipus Rex\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e, Matsumoto interrupts the unfolding drama with interviews, documentary observation, experimental imagery, abrupt changes of pace, and moments that expose the filmmaking process itself. The result moves between intimate tragedy and a vivid record of Tokyo’s counterculture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts depiction of gender expression, nightlife, and lives rarely placed at the centre of contemporary cinema has made it an enduring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecult classic and a major work in the history of queer filmmaking\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eToshio Matsumoto and ATG\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFuneral Parade of Roses\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMatsumoto’s first feature-length fiction film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, following his pioneering work in documentary and experimental cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMatsumoto approached film as a medium whose conventions could be continually questioned. His work explores the unstable relationship between observation and invention, using editing, repetition, sound, and fragmented imagery to challenge how an audience understands what it sees.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHere, those concerns become part of the storytelling: fiction repeatedly opens into documentary, while apparently spontaneous encounters become inseparable from performance. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTatsuo Suzuki’s black-and-white cinematography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJōji Yuasa’s music\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSetsu Asakura’s art direction\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e contribute to its distinctive visual and sonic character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFounded in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1961\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eATG — Art Theatre Guild\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e initially specialised in distributing international art cinema before becoming a crucial supporter of independent Japanese production. Its modest budgets and commitment to artistic freedom enabled filmmakers to pursue subjects and forms that often sat outside mainstream studio expectations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts history encompasses major works by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNagisa Ōshima, Shūji Terayama, Kijū Yoshida, and Toshio Matsumoto\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, among others. ATG also encouraged an exceptional culture of film-poster design, bringing cinema into close dialogue with contemporary graphics, illustration, and the visual arts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFuneral Parade of Roses\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e embodies that convergence of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eindependent cinema, underground performance, and artistic experimentation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster design\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe design is dominated by an enormous \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehigh-contrast monochrome portrait\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, its elaborate coiffure occupying much of the central field. Dramatic eye makeup, ornamental jewellery, and a small red star beside the eye create an image that is at once glamorous, theatrical, and unsettling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the hair and surrounding darkness, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eroses and vividly coloured butterflies\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appear as decorative collage elements. Their delicate forms contrast with the coarse photographic texture and deep black background, giving the composition a surreal, almost dreamlike quality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA continuous border of film stills surrounds the portrait. Individually tinted in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehot pink, turquoise, orange, yellow, green, and violet\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, these panels create a dense sequence of faces, intimate encounters, and street scenes. Floral arrangements anchor the four corners.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt upper right, the Japanese title appears in bold yellow lettering against a red panel:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「薔薇の葬列」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Funeral Parade of Roses”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVertical columns of pink, red, yellow, and white text extend across the upper portion of the composition. The combination of densely arranged typography, decorative imagery, and photographic fragments gives the poster an intensity closely suited to the film’s restless construction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lower section carries the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eParamount Video\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e branding and the announcement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「4月25日発売」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Released April 25”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe accompanying \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePV-1027\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e catalogue number identifies the video edition being promoted. These printed details establish the poster’s place in the film’s later home-video history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCultural significance and rarity\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFuneral Parade of Roses\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e has retained its ability to surprise audiences across successive generations. Its international restoration and revival screenings have reinforced its standing as both a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003emajor experimental film and an essential portrait of Japanese queer counterculture\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis scarce promotional issue connects that 1960s artistic world with the Japanese video market of the late 1980s, when home viewing offered another route into films previously encountered through specialist cinemas and repertory screenings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eATG, Japanese underground cinema, queer film history, and adventurous graphic design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster offers a particularly compelling combination of subject, visual impact, and rarity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ \/ close to Near Mint.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Exceptionally well preserved, with vivid colour, deep blacks, crisp printed detail, and outstanding overall presentation. The intricate border imagery and central portrait retain superb visual impact, with only very minor signs of handling. Once framed, this poster will display exceptionally well. Please review the photographs—they show the exact poster for sale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese promotional poster produced for the 1988 video release of \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eFuneral Parade of Roses\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a modern reproduction\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e38 years old\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57530691223930,"sku":null,"price":938.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-0802_24_58PM.jpg?v=1794119861","url":"https:\/\/japanposter.co.uk\/products\/funeral-parade-of-roses-%e8%96%94%e8%96%87%e3%81%ae%e8%91%ac%e5%88%97-ultra-rare-original-japanese-video-release-poster-1988-toshio-matsumoto-atg-paramount-video","provider":"Japan Poster Shop","version":"1.0","type":"link"}