In 2006, Jasper Sharp noted in Midnight Eye that Funeral Parade of Roses, widely cited as an influence on Stanley Kubrick’s A Clockwork Orange, was "his first feature-length work, and was made possible through the support of the Art Theatre Guild, who produced and distributed the film. Though the following decades have seen Matsumoto continuing to practice within the fields of experimental cinema and video installation, subsequent theatrical features, which include Pandemonium (Shura, 1971), A 16-Year-Old's War (Juroku-sai no Senso, 1972) and Dogura Magura (1988), have been rather thin on the ground."
In 2009, Ben Sachs, writing for Cine-File, called Funeral "an unflinching look at drug abuse, counterculture, and transvestism in 60s Tokyo, purportedly similar to contemporaneous work by Andy Warhol and William Klein in its collage of documentary and pop-art sensibilities…. The film was all but unprecedented in Japanese cinema for its (male) homoeroticism, and this trait only helped to make it more controversial at home. But in spite of these potentially dating aspects, this remains powerful filmmaking to many contemporary viewers."
"Matsumoto’s generation of avant-garde and taboo-breaking artists is slowly fading away," notes Japan Trends. "In recent years we have lost Koji Wakamatsu, Nagisa Oshima, Genpei Akasegawa and, last month, Seijun Suzuki."