Nagisa Oshima,

http://archive.sensesofcinema.com/contents/directors...

excerpt Oshima's obsession with crime and criminals runs deep, from the boy with the homing-pigeon scam to the killers who populate his later work. (Audie Bock: “[I]n every Oshima film at least one murder, rape, theft or blackmail incident can be found, and often the whole of the film is constructed around the chronic repetition of such a crime” (10)). In his writings and interviews, Oshima sometimes equates the outlaw with the artist: both live lives of risk and uncertainty, closer to the edge than those who conform to social norms. This is not an original or profound observation, and Oshima can sound naïve, vain, or foolish when expounding on the theme in print: