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The Deserted Archipelago was my first independently directed and produced film. The film won the Grand Prix at the Nyon International Film Festival and garnered considerable attention both overseas and in Japan. The film follows an extremely simple story of a plain boy who matures into manhood while constantly manipulated by nuns. But woven into this narrative are my own experiences and the history of postwar Japan as well as a series of fantasies. The result is a multifaceted and multilayered objet, the birth of a newly sur-realistic filmmaking. On August 15th, the day the war ended, I was in the third year of primary school. That day, when the reality that I had known turned completely upside down, I was saddled with the trauma of no longer being able to believe in anything. Searching here and there for some kind of spiritual salvation, I finally found the existentialism of Albert Camus. From there, I was able to build up my own kind of existentialism and this film is best understood as based in that “Kanai Katsu Existentialism.” The film was praised by European film scholars Max Tessier and Tony Rayns and was screened as part of “Eiga: 25 Years of Japanese Film,” a special program at the 1984 Edinburgh International Film Festival.

出生于韩国的弗雷迪，自少便被领养家庭带到法国生活。25岁那年原本要去东京旅行，却因遇上台风而转游首尔，继而开展了一段寻根之旅。在法国成长的她，与亲生父母有着全然不同的文化，使这趟突如其来的旅程引发出更深层的身份思考，也将她的人生引领至始料未及的方向。

小强（尹小骏 饰）与父亲一直居住在山上，直到有一天外公决定将他送到城市接受更好的教育。刚开始，小强难以适应城市生活，渴望返回山上，毫不关心学校和书本。外公失去耐心，采取极端措施绑住他，迫使他踏上学校之路。在学校，他寻找了曾在山上相识的朋友雯雯（许翠雪 饰），但未果。却巧遇到一群武术爱好者，他们对小强展开挑战，小强尝试以山上学到的武艺应战，却遭遇挫折。然而，小强并不气馁，他加入了他们的行列，刻苦练习，最终获得了进步。与此同时，他了解到雯雯家庭的经济状况陷入困境，为帮助她，小强请求外公借钱。外公提出了一个赌约，承诺只要小强能在学业上有所进步，就愿意提供资助。小强坚守承诺，努力学习。然而，正当他看似接近胜利时，债主绑架了小强和雯雯的哥哥，迫使外公筹集赎金。

封云亭於访选神木时，无意中与少女湘华及游方高僧弗得邂逅，彼此互有印象。湘华被当地劣吏欺凌，失足由高楼墬下，正好落於云亭面前身亡，而云亭手中神木因此残留红色血跡。封云亭动手雕刻神木时发觉刀不能人，且诸多怪异现象，弗得作法驱鬼，不料一时错手，使鬼魂附入封云亭之体内，封云亭变成半男半女之人，亦因而闹出许多光怪陆离之笑话...后来，魔胎邪童降世，封云亭也终于雕刻完菩萨塑像，所有鬼怪都被观音菩萨的佛光收去 包括湘华．