The remarkable debut film by Young Sang Sidae member Lee Jang-Ho (b. 1945) is among 1970s Korean cinema’s most stylistically radically films—using dizzying flashbacks, extreme camera angles, avant-garde montage and an often distorted soundtrack to render vivid the intense emotions and circumstances of its now-iconic main characters, the beautiful and long-suffering Gyeong-A and the moody painter Mun-Oh, the latter the seemingly one sympathetic soul in a cold universe. Revered in Korea, Heavenly Homecoming to Stars is, together with March of Fools, a key expression of the emergent youth culture that, like Ha Gil-Jong’s classic, clearly shares its characters’ strong distrust of tradition and authority.