A young filmmaker intent on committing suicide captures his final days on film, but after the young man's death the footage is seized by the police. As his comrades discuss ways to get hold of the film and camera, the most radical among them decides to take matters into his own hands.

One of the most urgent, anxious cinematic interventions into the post-1968 defeat of the radical youth movement, Ōshima's The Man Who Left His Will on Film is anchored by its feverish and lingering enigma, one that has lost none of its power to captivate nearly sixty years on from the films first release.