A loose adaptation of Márquez’s novel One Hundred Years of Solitude. The plot of Farewell to the Ark focuses on the lives of Sutekichi and Sue, two cousins in love with one another who live in isolation and face the ridicule of the other villagers. The main plot is accompanied by side stories—written by Terayama himself—that take the form of parables, including about hunting for a beautiful phantom woman, gold seekers and people who send letters into the abyss of the world of the dead. Terayama has said that his film was not meant to be a faithful adaptation but rather a means of citing the writer and adding a new chapter to his novel. Both works, however, retain the mosaic-like structure that is characteristic of magic realism, in which various plans for events are highlighted, with a simultaneous lack of generalizations and an accumulation of details. And although Terayama’s film accentuates feelings rather than words, its protagonists—the tribes doomed to a hundred years of solitude—are also engulfed in the unspeakable fear of losing their shared ark.
(1935-1983), one of the most prominent avant-garde reformers of Japanese cinema and theater. He became an unrivaled intellectual, nonconformist and unyielding fanatic, as well as an artist who was deemed scandalous and subversive, an enfant terrible, who managed to revise his native tradition. Famous internationally primarily as the founder of the legendary alternative Tenjō Sajiki theater, he directed a series of films with strong autobiographical themes, including a counter-cultural manifesto based on the collage method Throw Away Your Books, Rally in the Streets, or Death in the Country, which critics compared and contrasted to Federico Fellini's Eight and a Half, and near the end of his life to create his own version of Marquez's One Hundred Years of Solitude in Farewell to the Ark, where Macondo culture permeates Japanese myths and beliefs. As a total artist, Terayama not only mixed different genres and conventions, but combined the cinema with theater, destroying the "fourth wall" between the viewer and the artist.
1971 Rzućmy książki, wyjdźmy na ulice! / Sho o suteyo machi e deyō / Throw Away Your Books, Rally in the Streets
1974 Wiejska ciuciubabka / Den'en ni shisu / Pastoral: To Die in the Country (aka Pastoral Hide and Seek)
1977 Bokser / Bokusā / Boxer
1981 Owoce namiętności / Shanhai Ijin Shōkan / Fruits of Passion
1984 Żegnaj, Arko! / Saraba hakobune / Farewell to the Ark