ADDITION: BFI - Region 'B' - two Blu-rays May 2020': BFI's 2020 Blu-ray transfer is from the same source as the Cinelicious Pic's 2017 Blu-ray with a couple of differences. Firstly, the BFI is in the 1.37:1 aspect ratio where the US version clocks-in about 1.38.5:1 with the UK 1080P showing slightly more information in the top of the frame. The BFI is on a dual-layered disc with a 40% higher bitrate - improving marginally in the stills but noticeable to the discerning when the image is in-motion.

Audio-wise, BFI go liner PCM with a more robust transfer - against showing marginal superiority when compared to the Cinelicious. Both have subtitles (in different fonts - see sample below) while the BFI Blu-ray is Region 'B'-locked.

Supplements (aside from the included booklet) are exactly the same - even allocated the same on the two Blu-rays. To quote below: "... a commentary by Chris D. (born Chris Desjardins; January 15, 1952) is a punk poet, rock critic, singer, author (Outlaw Masters of Japanese Film), actor and filmmaker. He is best known as the lead singer and founder of the early Los Angeles punk/deathrock band the Flesh Eaters. He provides a great analysis detailing many interesting aspects of Matsumoto themes and intentions. He knows his tuff and the discussion has immense value. One the first Blu-ray are also US and Japanese trailers.

On the second Blu-ray we get eight newly remastered avant-garde short films by Toshio Matsumoto made from 1962 to 1975. They run short of 2-hours in total but fans of Avant-garde will certainly enjoy this bonus treat. The package has a liner notes booklet with a new essay by Hirofumi Sakamoto, Director of the Postwar Japan Moving Image Archive." BFI add a - first pressing only - fully illustrated booklet with essays by Jim O Rourke and director Toshio Matsumoto and full film credits.

BOTTOM LINE: this BFI Blu-ray is almost the exact same release as the Cinelicious 2017 BD - except the feature is on a dual-layered disc - with a marginally superior image - both in-motion (higher bitrate) and showing slightly more information in the frame via the correct 1.37:1 aspect ratio. This 2-disc version is limited to 3000 copies. It's the best, but for some, may not be in significant enough ways. This will easily go out-of-print so those keen and Region 'B'ers may wish to indulge, obtaining the new book, before it is gone.   

***

ADDITION: Cinelicious Pics - Region 'A' - Blu-ray November 17': Cinelicious Pic's 2017 Blu-ray transfer is advertised as "A key work of the Japanese New Wave and of queer cinema, FUNERAL PARADE has been restored in 4k from the original 35mm camera negative and sound elements for this 2017 re-release. " The image can speak for itself in the screen captures - bright, crisp, wonderful grain. The frame may have shifted to the left and down a shade. Contrast is the notable improvement in the higher resolution. The 4K-restoration looks very impressive beside the SD.

The film's audio is transferred via a DTS-HD Master mono track (24-bit) in the original Japanese. There are effect sounds in the form of various beeps and often unusual computer-like noises. The score is by, self-taught, Jôji Yuasa (Nagisa Ôshima's Pleasures of the Flesh, Jûzô Itami's The Funeral) which is very electronic-based plus there are also the bar songs and some may notice Jacques Offenbach's Orphée aux enfers and Beethoven's Symphony No. 5 in C minor sped-up. It all sounds flat but crisp but strong - dialogue clear. There are optional English subtitles on the Region 'A'-locked Blu-ray.

Cinelicious Pics add a commentary by Chris D. (born Chris Desjardins; January 15, 1952) is a punk poet, rock critic, singer, author (Outlaw Masters of Japanese Film), actor and filmmaker. He is best known as the lead singer and founder of the early Los Angeles punk/deathrock band the Flesh Eaters. He provides a great analysis detailing many interesting aspects of Matsumoto themes and intentions. He knows his tuff and the discussion has immense value. One the first Blu-ray are also US and Japanese trailers.