After nearly 50 years behind the camera, Shoei Imamura continues to make the kind of film that once made him a key figure in the Japanese New Wave. His 19th feature is eccentric, playful and boldly erotic. Laid off after years spent working for the same Tokyo architectural firm, Yosuke (Koji Yakusho) now spends his afternoons bouncing from one dead-end job interview to another, and hanging out at the river's edge with indigent philosopher Taro (Kazuo Kitamura), who tells Yosuke a strange story. Shortly after WWII ended, Taro claims to have stolen a golden Buddha from a temple in Kyoto and hidden it away in a house on the tip of the Noto Peninsula. Taro describes the ...