"Secret Story After the Tokyo War," the original Japanese title of Oshima's now classic work of counter-cinema makes clear his political investment yet in no way explains the film's feverish and lingering enigma. One of the most urgent, anxious cinematic interventions into the post-1968 defeat of the radical youth movement, The Man Who Left His Will on Film is structured around a poetically closed-loop that begins and ends with the suicide of a young member of a political film cooperative and follows a grieving friend's attempts to understand the meaning of the seemingly "ordinary" footage of Tokyo streets and cityscapes recovered from the dead man's camera. The key to the footage lies in the so-called "landscape theory" advanced by Oshima contemporary and occasional collaborator Masao Adachi whose own cinema explored the idea the dominant and invisible power structure of a nation is legible in the most everyday landscapes that surround us.