By Jasper Sharp, from Midnight Eye - “Tora, Tora, Tora! Pearl Harbour was our only choice. Our race was corrupted from the day we lost the war…” Karin Amamiya, lead singer of ultra-nationalist hardcore punk band The Revolutionary Truth looms centre stage, barking out aggressive but heartfelt anti-American sentiments to a dwindling audience.
Troubled music for troubled times, one might think, though on the surface at least, there seems to be little immediate to worry about for the citizens of modern day Japan, currently one of the safest places on the planet. However, in recent times, and especially since the death of Emperor Hirohito marked the end of the Showa Period in 1989, the Heisei Period has seen a marked revival in the nationalist movement.
Nationalism, with its indelible associations of racism and the military right wing is a fairly dirty word to most people, and a subject which most would prefer to waft aside without giving a second thought. But for documentary maker Tsuchiya, who stood amongst the cowed observers at the gig with which the film opens and viewing the proceedings firmly from the other side of the political fence, there’s something more heartfelt about Amamiya’s plea. “I shivered. I don’t know why. I felt her pain, somehow, like a reflected light beam stabbing the heart.”
The New God documents Tsuchiya’s attempts to delve beyond the political rhetoric and intimidating facade of the fascinatingly complex figures of Amamiya and guitarist/band-leader Hidehito Itoh of The Revolutionary Truth, in the process discovering that all three of them have a lot more in common than their seemingly diametrically opposed standpoints might first lead one to believe. Handing Amamiya a DV-camera in which to film herself in a series of talking head shots, over the course of little over a month, he manages to get a whole lot more than he initially bargained for…







