
The Chinese Mayor
2015

1968
Director
Shinsuke Ogawa
Runtime
108 minutes
Average Rating
No ratings yetSynopsis
In 1968, Ogawa decided to form Ogawa Productions and locate it at the newly announced construction site of Narita International Airport in a district called Sanrizuka. Ogawa chose to locate his company in the most radical of the villages, Heta. Some farmers immediately sold their land; others vehemently protested and drew the support of social movements across the country. Together they clashed with riot police sent in to protect surveyors, who were plotting out the airport. Summer in Sanrizuka is a messy film – its chaos communicating the passions and actions on the ground.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses on agrarian struggle and socio-political conflict. There is no documented evidence of LGBTQ+ characters or narratives within the footage.
Gender Representation
Women participate in communal organization and domestic realities of the movement. While male farmers often lead physical confrontations, the film documents women's essential roles in sustaining the community.
Racial & Ethnic Diversity
The cast is ethnically homogeneous due to the localized rural setting. However, the film critiques post-colonial power dynamics and the influence of the US-Japan security treaty.
Religious & Cultural Diversity
The documentary provides a profound critique of Western-aligned institutions. It frames the state and capitalist airport construction as oppressive forces encroaching upon the local peasantry.
Disability Representation
There are no specific depictions of physical or neurodivergent disabilities that serve as central narrative drivers in this work.
Strengths
Areas for Improvement
AI Analysis
Shinsuke Ogawa’s documentary is a powerful piece of political cinema that prioritizes class struggle and land rights. It succeeds in subverting state-sanctioned history by centering the voices of rural protesters against systemic oppression. While the film lacks intersectional representation regarding LGBTQ+ and disability identities, it offers deep progressive value. It frames civil disobedience not as lawlessness, but as a legitimate defense of local sovereignty against globalized economic interests. The work is highly effective at deconstructing authority, though its narrow focus on a specific Japanese agrarian context limits its ethnic and identity-based diversity.

2015

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1965

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2017
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2015

1968

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