In the fall of 1968, 19-year-old Nagayama Norio murdered four people in a killing spree across Japan with a shotgun stolen from a U.S. Army base. Adachi Masao, together w,ith cultural theorist Matsuda Masao, scriptwriter Sasaki Mamoru and other collaborators, set out to follow his footsteps, from a shabby home in Hokkaido to Tokyo, with a camera in hand. The result is a documentary - hailed as the beginning of the influential "landscape theory" in Japanese film theory and practice - comprised of static shots of landscapes that the young man may or may not have seen in his life up until his arrest. Departing from sensationalist representations of crime, the film exposes the bare materiality of everyday landscapes without dramatic visuals or causal narrativeity or interiority of Nagayama—one of the so-called "golden eggs" (kin no tamago), young workers sent from the countryside to do low-wage, unskilled work in Tokyo; rather, the anonymous and fragmentary scenes ask that we behold the memory of the cities, the habitats of the underclass, thereby universalizing and historicizing Nagayama’s existence within the social context of postwar Japan during the period of high economic growth.s. Adachi’s voiceover does not place emphasis on the individuality or interiority of Nagayama—one of the so-called "golden eggs" (kin no tamago), young workers sent from the countryside to do low-wage, unskilled work in Tokyo; rather, the anonymous and fragmentary scenes ask that we behold the memory of the cities, the habitats of the underclass, thereby universalizing and historicizing Nagayama’s existence within the social context of postwar Japan during the period of high economic growth.