PROGRAM

There are small people wearing hats in the society.

Rabbit’s Blood is a story about a society of two rival groups, where there are rabbits living underground who have human-looking bodies.

A boy has a polka-dot disease on his arms since he can remember and is suffering from it mentally and physically. One day he discovers a secret between the disease and a cult group.

Numbers stations were prominently used during the Cold War. A boy was tuning the radio in the snow mountain and happened to tune the shortwave of codes.

Self-replicating entities that have evolved on different planets merge and proliferate exponentially. In search of more energy sources, they consume other stars.

During the period of the 'Provinces at war', many lives were lost. A castle architect discovers the possible role of a tea room as a place for warriors to regain humanity.

"NOMINO SUKUNE" was the creator of the Japanese Sumo wrestling. He also aborted the live human sacrifices in the tombs of the emperor and made terra-cotta clay sculptures instead.

When I was a high school student, to me the shape of human chromosomes looked like wriggling people. It amazed me that biological gender and personal data are recorded in these tiny, human-looking molecules, and that they are self-determining even though they have no will.
From there, my imagination led me to a film featuring an ensemble cast comprised of these microscopic chromosomes but each depicted as independent human beings. In it, I wanted my queer will to be the intervening medium.
My aim was to portray small groups of people in very short sequences, and then create a bigger story by connecting the smaller ones – I thought that structure would be the same as chromosomes. At the time of production, I had uncertainties and perplexities about my life, so in a way I wanted to create this work to confront myself and the queer identity.

"There are regions scattered throughout Japan that have a tradition known as “hone kami,” or “biting the bone.” After the deceased is cremated, certain bones survive the blaze, and fragments of these are eaten as a means of making the deceased a part of oneself, and of overcoming grief and pain. I first learned of this practice as an adult, and was quite shocked by it. As it happens, there was such a tradition among certain families in my native village. And in my own first experience with death (the death of my father), I was encouraged to eat one of his bones, but could not bring myself to do it. Still very young, I could not come to terms with and accept my father’s death. My memory of that experience is traumatic. The bone I did not eat stayed with me, as if stuck in my throat, and I found myself unable to express the experience in words nor forget it. More than a decade has passed since I left my distant and tiny island home at age 15 to live on my own. An old wartime powder magazine still stands on the island I was born on.
The fact that it was an ammunition dump, rather than an air raid shelter, near my childhood home made me feel that I was on the side that imposed death and cruel violence, rather than on the side that was subjected to it.
That fact evokes fear and loathing and a multitude of emotions that are hard to describe in words, but I felt I must own that history. Or rather, that I had already owned it all along. Reflecting on this experience as an adult, I decided to confront the connection between my father’s bones and the ammunition dump. The landscape and ocean of my island are teeming with life, and the serenity of nature is always accompanied by nature’s severity. The visual concept of this project is to synthesize natural landscapes and childhood memories by presenting memory as a collection of points."

"There are regions scattered throughout Japan that have a tradition known as “hone kami,” or “biting the bone.” After the deceased is cremated, certain bones survive the blaze, and fragments of these are eaten as a means of making the deceased a part of oneself, and of overcoming grief and pain. I first learned of this practice as an adult, and was quite shocked by it. As it happens, there was such a tradition among certain families in my native village. And in my own first experience with death (the death of my father), I was encouraged to eat one of his bones, but could not bring myself to do it. Still very young, I could not come to terms with and accept my father’s death. My memory of that experience is traumatic. The bone I did not eat stayed with me, as if stuck in my throat, and I found myself unable to express the experience in words nor forget it. More than a decade has passed since I left my distant and tiny island home at age 15 to live on my own. An old wartime powder magazine still stands on the island I was born on.
The fact that it was an ammunition dump, rather than an air raid shelter, near my childhood home made me feel that I was on the side that imposed death and cruel violence, rather than on the side that was subjected to it.
That fact evokes fear and loathing and a multitude of emotions that are hard to describe in words, but I felt I must own that history. Or rather, that I had already owned it all along. Reflecting on this experience as an adult, I decided to confront the connection between my father’s bones and the ammunition dump. The landscape and ocean of my island are teeming with life, and the serenity of nature is always accompanied by nature’s severity. The visual concept of this project is to synthesize natural landscapes and childhood memories by presenting memory as a collection of points."

"The 700th Anniversary of Dante Alighieri
Dante ""The Divine Comedy""
The Inferno, Canto XV, Circle Seven, Round Three. In this circle of Hell, homosexuals are being tortured for violating the order of nature. It is here that Dante finds his mentor, Ser Brunetto Latino. Fast forward 700 years to a fictional modern Japan where Dante the cat is a university student.
His town has put a ban on alcohol."