As with last year’s restoration of John Waters’ fantastic second film Multiple Maniacs, another landmark of queer cinema has been rescued and revived. Released in 1969, Toshio Matsumoto’s debut Funeral Parade of Roses shares similar thematic DNA with its counterpart from Baltimore. Both feature daring sex scenes, a plot involving a love triangle, and moments of shocking violence. But instead of relying on Waters’s in-your-face weirdness, Matsumoto lets his experimental style do the work of setting the audience at unease. A gender-fluid take on Oedipus Rex that takes cues from Jonas Mekas (who’s name-checked in the film), Seijun Suzuki, and Andy Warhol, Funeral is a frenetic hodgepodge of styles and moods. by Robert Ham