The taiyozoku (or ‘Sun Tribe Films’) heralded an eruption of sexual frankness in Japanese cinema during the mid-1950s. A prime example of this phenomenon is CRAZED FRUIT, in which two brothers compete for the love of the same girl against a backdrop of summer sun and hedonistic decadence. A joyous blast of breezy cinematic style and a blistering investigation into Japan’s uneasy post-war transformation, this is a genuine rediscovery.