Yasuda Satoru, 8mm. Singing, children, sea, mountains, travel, friends. Archive and diary like footage repeated and distorted multiple times - in the end it became like a "ghost diary". R-1/3~3/3
This is a film about a medium approaching extinction, an 8mm documentary film about a vanishing 8mm cinema. Blending two genres, the science film and the personal film, and benefiting from the participation of multiple generations of cineastes, it is a reflection upon the original cinematic experience.
Nakagawa shot “Coming Future” on the nights of December 24 and 25, 2010 in Shibuya, making it his location for an idealized Bohemia in the heart of Tokyo. Interesting interviews/discussions with Kenji Murakami, Nobuhiro Yamashita, Kenji Onishi, Tetsuaki Matsue and more... By far the most interesting sequence is with Kenji Onishi (“A Burning Star”). Wielding a super-8 camera, Onishi documents his own interview, taking random shots of street-life and buildings. He leavens his monologue with statements bordering between cliché and outré. “A movie that aims to make a message is boring.”
A very rare, Super 8 film by Fujiwara Sho (pen name Fujiwara Dragon), that was screened only one time. Some scenes were later reused in one of Kenji Onishi versions of Edge Cutters and altered. There were many versions of Edge Cutters and Kenji Onishi altered them for different screenings.
VIDA, starring AV actress Hotaru Hazuki, is an erotic work aiming directly at the Hypothalamus. DEATH is an event that makes life emerge in a different language. The film was entirely self-developed at home
Kenji Murakami seeks out legendary wildman director Kenji Onishi and arranges a meeting with director Yoko Oguchi. The meeting turns unexpectedly intense...
A behind the scenes documentary of Kenji Onishi's never completed 35mm feature film "Shiroyasha", shot between 2002 and 2004.
A man fingering the girl before killing her. Camera cuts to blue sky and cat. A man choking his girl. Onishi at his usual with framing, extreme close-ups, expectations and black inserts.
A man fingering the girl before killing her. Camera cuts to blue sky and cat. A man choking his girl. Onishi at his usual with framing, extreme close-ups, expectations and black inserts.
A central figure on the Tokyo experimental film scene and already a veteran of the international festival circuit, Kenji Onishi has made nearly 200 films since 1990, ranging from Super-8 studies of light to full-length features filled with drugs and violence. His filmmaking output spans many genres, and he has become known for a distinctive personal style that melds structural concerns with overtly sensationalist subject matter.
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