Amid the international revolutionary movements and struggles of the late 1960s, Adachi Masao and Wakamatsu Kōji went to the Lebanese capital of Beirut on their way back from the 1971 Cannes International Film Festival. There they worked with the Red Army Faction, which was active in the area, and the Popular Front for the Liberation of Palestine (PFLP) to produce a news film for the international revolutionary movement; the film depicted the daily lives of Palestinian guerrillas. 

This news propaganda documentary, which explained the armed struggle for popular liberation, employed avant-garde techniques and marked the transition of landscape theory into theories of media and reportage. The film was not released theatrically; instead it was brought to Japanese universities and elsewhere by volunteers mobilised into a film-screening campaign. During this campaign, Adachi commuted between Japan and the Middle East, and after August 1974 he left Japan entirely to join the Palestinian struggle. 

“As for me, I wanted to fight colonisation through cinema. At that time, people were beginning to feel a sense of urgency. I wanted to make political movements—and filmmaking—more active and more effective. For me, this meant joining the struggle for the liberation of Palestine and returning to Japan carrying that resolve. That is how my involvement began.” — Adachi Masao