(Rengoku Eroica, 1970)
«Of poetry, I will now say that it is, I believe, the sacrifice in which words are victims. Words - we use them, we make of them the instruments of useful acts. But we tear words from these links in a delirium. (...) Poetry leads from the known to the unkown.» - Georges Bataille in Inner Experience
Cinema is, first of all, the art of moving image. Only when the image is shown on the screen, can there be the place for spoken word. Kiju Yoshida's Trilogy tries to annihilate the realm of words within the creative process, thus creating a mythical world of phantasmatic appearances. Certainly, there is speech and a message but they're enterily subjugated to the original mystery of images. I would say, then, that Kiju Yoshida's cinema represents the sacrifice in which images are victims. By sacrifice I want to state very clearly the destruction of the known use of images into something totally unknown, inscrutable. There is no trace of reality, utility, or any familiar things in the filmed, cadaveric, world of Kiju Yoshida. Thus, the terrific experience of imagetic sacrifice overturns our being, the spectator, in an ecstatic experience where the impossible (the negation of possible images) and the possible (the image itself) harmonize in a spiral of delirium. To sum it up, Kiju Yoshida's poetic Cinema corresponds - paraphrasing Bataille - what one usually calls mystical experience: the state of ecstasy, the negation of time, of rapture, in which the unkown prevails and the impossible is the mesure of all things.