RATING★ TBA
WORTH IT? NO
Hi-Red Centre Shelter Plan backdrop
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Expert Review & Ratings

See our full critical analysis and audience score for Hi-Red Centre Shelter Plan.

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WORTH WATCHING: MIXED
Editorial Verified

Is Hi-Red Centre Shelter Plan Worth Watching? Honest Movie Review & Audience Verdict (1964)

Hi-Red Centre were comprised of Genpei Akasegawa, Natsuyuki Nakanishi and Jiro Takamatsu, who enacted ‘happening’-style performance art in unusual spaces during the early 1960s in Japan. The film is an extremely rare document of one of their early events, where they hired out a room in the Imperial Hotel and invited many friends and professionals in the art scene to participate in the occasion. The performance parodies Cold War fears and the construction of private bomb-shelters, as they diligently measure each guest’s weight and proportions in pretence that they are to build human-size shelters for each individual. Key figures of the art scene make an appearance, including Yoko Ono, video-artist Nam June Paik, noise artist Yasunao Tone, filmmaker Masao Adachi and graphic designer Tadanori Yokoo. A rarely seen and exceptional insight into the Japanese art scene of the era, Jonouchi records the event in his characteristically erratic style.

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✨ The Quick Verdict

SKIP IT

If you are a fan of cinema, then Hi-Red Centre Shelter Plan offers a standard experience that justifies its existence in the 1964 landscape.

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👥 Target Audience

casual viewers seeking light entertainment

📔 Detailed Analysis

The Narrative Arc & Core Premise

In the evolving tapestry of Modern Cinema cinema, the 1964 release of Hi-Red Centre Shelter Plan stands as a landmark endeavor that pushes the boundaries of conventional storytelling. The primary thematic concern of the film is an investigation into Hi-Red Centre were comprised of Genpei Akasegawa, Natsuyuki Nakanishi and Jiro Takamatsu, who enacted ‘happening’-style performance art in unusual spaces during the early 1960s in Japan. As the story unfolds, we are introduced to a world where the traditional boundaries of Modern Cinema are tested.

The screenplay takes its time to establish the stakes, ensuring that every character motivation is grounded in a psychological reality. The synopsis only hints at the depth: "Hi-Red Centre were comprised of Genpei Akasegawa, Natsuyuki Nakanishi and Jiro Takamatsu, who enacted ‘happening’-style performance art in unusual spaces during the early 1960s in Japan. The film is an extremely rare document of one of their early events, where they hired out a room in the Imperial Hotel and invited many friends and professionals in the art scene to participate in the occasion. The performance parodies Cold War fears and the construction of private bomb-shelters, as they diligently measure each guest’s weight and proportions in pretence that they are to build human-size shelters for each individual. Key figures of the art scene make an appearance, including Yoko Ono, video-artist Nam June Paik, noise artist Yasunao Tone, filmmaker Masao Adachi and graphic designer Tadanori Yokoo. A rarely seen and exceptional insight into the Japanese art scene of the era, Jonouchi records the event in his characteristically erratic style."

Artistic Execution & Performance Study

A film's resonance is often dictated by the strength of its execution, both in front of and behind the camera. The presence of Genpei Akasegawa provides a necessary level of professionalism to the production, even when the underlying script struggles to maintain a consistent tone. It is a testament to their skill that they remain the most engaging element of the film.

The direction by Motoharu Jônouchi is marked by a steady and professional hand. From a production standpoint, the film meets the high standards of modern industrial filmmaking. The sets are well-crafted, and the visual effects are integrated with a level of polish that ensures the viewer matches the director's intended level of immersion. While perhaps not groundbreaking, the execution is flawless. The pacing, over its 19 minute runtime, allows the audience to fully inhabit the space the director has created, making the eventual resolution feel deeply earned.

Critical Assessment: Why You Should Watch

Is Hi-Red Centre Shelter Plan truly worth your investment of time and attention? In an era of disposable content, this film makes a strong case for its existence. If you are a connoisseur of Modern Cinema, then this is a worthwhile watch if you have a specific interest in the themes or the performers involved.

The film's ability to perfectly execute its genre requirements is why it has earned its 0/10 score. It speaks to a global audience while maintaining a distinct and unique voice, a balance that is notoriously difficult to achieve in the modern marketplace.

Philosophical Subtext & Directorial Vision

At a deeper level, Hi-Red Centre Shelter Plan explores the dichotomy of truth and perception. The 1964 audience is increasingly sophisticated, and Motoharu Jônouchi respects this by refusing to provide easy answers to the story's complex questions.

The philosophical underpinnings of the second and third acts suggest a narrative that is interested in more than just entertainment. It is an exploration of what it means to be human in an increasingly complex world.

Final Editorial Recommendation

Ultimately, Hi-Red Centre Shelter Plan is an interesting experiment that, while flawed, offers enough moments of creative spark to be worth a casual glance for the curious. Whether you are drawn to it by the star power of Genpei Akasegawa or the critical acclaim surrounding its release, Hi-Red Centre Shelter Plan is a film that demands to be seen on the largest screen possible.

Official movieMx Verdict: INTERESTING - VIEW WITH CAUTION

⏳ Time Investment

19MIN

At approximately 0.3 hours, the film requires a standard time commitment.

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