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"Self recognition changes according to the condition of mental health. When the person is not healthy, the image of oneself looks distorted like the ones reflected on a spoon. Maybe screaming happens when the gap between the ideal self and the reflected self is too big. The person is retrieved when he/she forgets about the ideal." - Tamami Asada

Is this Japan in the near future or a place that closely resembles Japan? In a town where the weather forecast always ends with an announcement about a 'dull rain', people live their lives constantly worrying about the rain. The 'dull rain' is said to be the vapour that forms when a substance called H.U.A.N. in the air combines with another substance called Violence (VIOLENCE), which rises into the sky and forms clouds. However, neither clouds nor rain is visible to the human eye, nor do we know what happens when they fall.

The film is brilliantly directed with a high level of tension, as if it were a gag comic straight out of a live-action comic book. The ideas are seemingly cheap, but with a speedy sharpness and sense of style, they are even gorgeous. What makes the most of it is the orthodox story section, which carefully holds down the portrayal of the characters, and the "Is this really live-action?" It is probably the workmanship that spares no time or effort after thinking about it.

The film chooses the relationship between a photographer and his wife and daughter as its main line, and introduces the daily life experience of the only daughter of a family in Beijing. In the process of filming, the story of this family's life becomes an almost universal story; the films has been appreciated as an important work for analyzing the processes of Chinese families, children, schools, and education today.

Staring at something. Making stationary eyes.

For his own trauma, which he hates but cherishes. There is a man who was sexually violated as a child. He is troubled by the presence of another self, who appears before his eyes and reminds him of that time. The man hates the boy, but not completely, as he tries to control him by force but cannot. The boy silently adores the man. In the end, the two decide to live together in a world that is always looking for curiosity. The psychological symbols hidden here and there are not only rhetorical but also beautiful and striking enough as visuals to give a sense of sadness born of inevitability. The fact that the faces of the people are not shown clearly gives the film the effect of a scene from a dream.

In order to start a new love, there is a love that needs to be redone. One day, Riho, the girl he thought he had broken up with, comes back with a withered sunflower flower. Yuji is confused, but he accepts her, but Riho and her friends have no memory of their breakup. However, not only Riho, but also his friends have no memory of their break-up, and events like déjà vu begin to occur around Yuji. When Yuji realises the truth, the sunflowers are in full bloom. This light comedy depicts the steps of the protagonist as he climbs the next step in his love life by redoing "the love he wanted to cherish more", in the flow of time from the present to past to present. The director's sense and playfulness can be felt in the supporting characters, including the protagonist's beloved car, which does not listen to him easily.

Tokyo, 1998. Sisters Keiko and Sumiko learn of their father's death through a message on an answering machine. The weather is abnormal and the winter days continue. Keiko's mental state deteriorates in response, and she is finally hospitalised. Her sister Sumiko, lonely and anxious, begins to use sleeping pills regularly. Yuko, a female friend who had an abortion, left for the south after the man she had been having an affair with committed suicide. In addition, her sister, who has escaped from the hospital, jumps into a train right in front of Sumiko. On television, they report the abnormal breeding of fireflies. In desperation, Sumiko takes the train to the home of the fireflies.

Rethinking the meaning of the 50th anniversary of liberation. Designed and produced for the purpose of viewing, the entire work is an omnibus animation composed of five independent paragraphs such as 'painting', 'dream', 'wall', and 'road'. Creators of yesterday, today, and tomorrow in our history It is a work that focuses on visualizing the diverse perspectives and creative and free imagination of Each paragraph tells a story about the invasion of imperialism, the suppression from history, the confrontation of ideologies, the walls of modern civilization, and the conflicts of capital with a unique technique.

This film gives a matter-of-fact record of the creation and lives of 5 artists: Wang Chuan, Zhou Chunya, Ye Yongqing. Zhang Xiaogang, and Mao Xuhui. They belong to the generation that grew up under the People's Republic that took part in all the big and small political movements and social transformations in China in the last 30 years. Now, in the course of China's transformation to modernization, they are facing a rather complicated reality and cultural problem. Time flies like an arrow -- natural selection is going on mercilessly. For the past decade, they have always been consistent in the observation of a lofty spirit, and independent personal integrity, and never have they given up their love and exploration for a single day.

The first film in the 'Japanese Archipelago' series. This is a video that shows images of places with explanations of ghost zones such as Maruyama-cho, which is called the birthplace of the famous candy store ghost, and the Chichibu sacred site Eifukuji Temple, which is said to be a zone of fear and haunted by ghosts.

In this piece, I described the way of life of the poet Kenji Fukuma and his wife. I read and liked Mr Fukuma's poetry collection, "Country Life," and we began to correspond. Mr. Fukuma has doubts about modern urban life and is searching for a better place to live. I heard that he was interested in tai chi, a traditional Chinese martial art, and had begun to practice it, so I decided to photograph him and his wife as they naturally communicated with each other. Produced in 1991. The artist is 56 years old. (Suzuki Shiroyasu).

Short film directed by Chen Shiaixiong.

Short film directed by Chen Shiaixiong.

Short 8mm film by Toshihiko Omote.

Four-part documentary series about Tibet. Part 1: Heavenly Palace (天宫). Part 2: Guge (古格). Part 3: Trulchendanpa and Tholing Monastery (楚成旦巴和托林寺). Part 4: Echo (回声).

Lulu Ogawa's fascinating 1998 video documentary depicts a wide cross-section of Japanese transgendered people, from drag queens to FTMs to intersex activists to male transvestites. They tell familiar stories of exclusion and abuse while growing up, discuss the need for safe spaces where they can express their complex identities, and reveal the cost of black-market hormones and the physical pain of sex-reassignment surgery.

The film tells a life story of Wang Shulan, who was sold to Tulou by his mother at an early age. As a woman herself, director Dai Yi is deeply moved by the fates of the women she sees living at the lowest rungs of society, and cares deeply about telling their story.

Short film on Tibet #1, 'Tibetan Artist Visit,' from Wen Pulin's Archive of Chinese Avant-Garde Art.

Documentary about the lives of a group of Tibetan religious dance performers.

Along the newly constructed expressway to Chengdu's airport, there is a group of villas built in the beginning of the nineties and left uncompleted for almost seven years. In this marginal area between the city and the country, four peasant families from different parts of China live under primitive conditions as squatters, growing some vegetables, collecting waste metals, and sewing clothes. Unable to return to their homes after losing land in a bubble economy, they decided to migrate and seek a new beginning.

A documentary film by Duan Jinchuan.

Qingpu is a famous sacred mountain in Tibet, where countless monks have practiced for thousands of years. In 1989, Wen Pulin and Duan Jinchuan followed several monks up the mountain and took video of them. After three years, they revisited the same people and got a little closer to understanding their lives. As an in-depth dialogue with down-to-earth, rural people in Tibet, the film strives to understand Buddhism both as a philosophy, but also as a personal choice of lifestyle, as a transcendence of the chaos of life.

"The clouds are rushing by, and the architecture of men fit so well in that movement. The bricks. The light is harsh and blue. But in the night it is different, you walk down the street and the sun turns into a light bulb again, the houses are asleep. It feels like thunder and the houses seemed to be dipped into blue and turquoise colours. And then it all turns blue again."

Recording memories of houses for ordinary people as scenarios of post-war Japan, composing images of destruction by stills and films with multiple exposure.

Hong Kong, 1997. Two young brothers, Chi and Shing, are learning to cope with life, specifically life with a father who has become emotionally detatched ever since their mother's departure from the family and her subsequent emigration to San Francisco to seek a new life for herself and a future for her boys.

East Is Red is made in one shot. The lighter with young Chairman MAO’s photo imprinted on it, the blurred TV screen, the music ‘East Is Red’, all connote light or brightness. The lighter falls after several loops of the song. This video aims to convey sarcasm and skepticism, through a superficial touch on the subject matter.

This video juxtaposes scholar Ackbar ABBAS’s text on identity politics with images of Hong Kong throughout the decades before the 1997 handover, including the 1967 riots and the 1989 parade in support of the Tiananmen Square protesters. As quoted from the narration, ‘Only something that's about to disappear becomes an image’.

Invisible Women follows the lives of three ethnic Indian women in Hong Kong. In the film, Cheung explores gender inequalities and looks at the lives of ethnic minorities in Hong Kong.

Complexity theory.

The Martians approach to the earth, because they break away from orbit. Then, they infiltrate into the earth. There are two groups among the Martians, i.e. the group of hawk that insists to punish the earth, which is polluted and sick. On the other hand, the group of dove insists that the people on the earth should solve their own problems by themselves. When the princess Nastasia makes an emergency landing at the human world, Chadoli takes care of her. When the princess is recovered, she and Chadoli search for the Kimerang. Finally, Tangun requests them to protect the peace of the earth. Meanwhile, the subordinates of Tokas of the underground kingdom destroy the city. Chadoli who turns into Edmond with superpower rescues the princess Nastasia and destroys the gang of Tokas.

In a mountain town where small-sized ranches scatter around, financial difficulty of ranches is caused and the animas fall in crisis of being butchered. By the way Su-Jin, who visits there for liquidation of ranch, determines to run a ranch with vague expectation captured by peaceful pastoral landscape. Though she attracts scattered herdsmen and readjust the ranch, she is deeply discouraged by the chairman's plot to build a luxurious villa by purchasing her ranch. In spite of inhospitality and disdain of neighbors she tires to resuscitate ranch but she determines to sell her ranch due to desperation. However those who are impressed by her pathetically sincere struggles help her to rebuild the ranch.

A father arranges for his son to meet with a prostitute on his birthday to teach him the facts of life. However, he did not expect them to fall in love.

In L.A. the son of a vegetable vendor avoids joining an all-Korean gang called the Tigers and instead falls in love with Lily, the sister of the leader of the all-Chinese gang called the Lions.

Wendy and Jay hunt for relics in the woods and find a skull and mystic tablet. Discovering these somehow releases the ghost Joan from the clutches of the evil Demon King, a transgender demon that enslaves ghosts and forces them to collect human hearts for him before they can reincarnate. The Demon sends his posse of girl ghosts to collect Joan and eliminate the interfering mortals, but is thwarted by the timely intervention of a master Taoist priest and his two disciples.

Betrayed by the legendary horse racing tipster Date, Keisuke has now joined forces with Tokai and Ochiai. Using thermal imaging cameras to assess the horses’ physical condition and predict the winning horse with a high degree of accuracy, the trio’s profits have reached 30 million yen. However, Date, having caught wind of this, steals both their earnings and their partners. Keisuke vows revenge…

Using the methodology of this series, carrying an 8mm camera fitted with a wide-angle lens and an ND filter, and performing long exposures while walking and turning the bulb crank, I turned the camera toward myself to create a self-portrait.

Ikumi is an up-and-coming pop singer with millions of fans and a promising acting career. She should be looking at the world through rose-colored glasses, but she's got man trouble. The love of her life just isn't sure he can handle Ikumi's fame and fortune. To make matters worse, while shooting on location, a jealous costar finds a strange wooden idol in an abandoned temple and uses it to invoke a hideous demon to be the instrument of her revenge. Will Ikumi's next concert be her last curtain call? She's about to discover that there really are fates worse than death.

Short stop motion clay animation by Fusako Yusaki

A fun educational video series with original Doraemon animation. Learn about traffic safety, such as how traffic lights work and railroad crossings, with Doraemon!

A man and a woman promise each other their love in the heavenly realm, but there is trouble on their way down to earth.

This film is a journey taking the audience to the places that contain their memories. It may be the memory of being born or being in childhood. It may be anxiety, or loneliness of nights. It may be separation, brokenhearted, or other sadness like illness or death of loving people.

A mere traditional Japanese restaurant owner who triggered an unprecedented massive fraudulent lending scandal and manipulated a staggering 600 billion yen at the height of the bubble economy. A mysterious, psychic market manipulator who rose from abject poverty and, using her beauty as a weapon, even had a state-owned bank at her mercy. This work is a shocking work of fiction that delves into the true identity of a woman who has until now been shrouded in mystery!

Short film by Japanese filmmaker Jun’ichi Okuyama.

A medium-length diary film edited and composed of private footage shot during a week in summer. Two years after moving to Tokyo, the director visited again his grandmother's country, with a camera at hand.

Experimental short by Kenji Onishi.

Three fox cubs break a precious family portrait an old lady had trying to get the offerings she usually leaves for them.

In 1991, an exhibition called the “Garage Show” was held in an underground garage on Hengshan Road in Shanghai. Zhang Peili presented his video piece Hygiene No.3 at this show. On screen, a pair of hands continuously washes a live chicken in a basin using soap and water. Before the washing begins, the camera shows a plaque on the back wall that reads “Hygiene Advanced Unit.” The person washing the chicken wears a prison- or hospital-style vertically striped shirt, and his actions are mechanical and impassive.

Screened together with Gundam: Mission to the Rise at Gundam's 20th Anniversary event "Gundam Big Bang Sengen" in Pacifico Yokohama National Convention Hall. Selected scenes from Kidou Senshi Gundam were re-edited for three giant projection screens to give the widescreen feel to the original 4:3 aspect footage. They were also computer synchronized to sweeping lights and lasers to simulate space battles. The soundtrack was remixed for six-channel surround sound.

Each song from the original EP is presented with live concert snippets and photoshoot scenes. The film also features a bunch of live videos after the ending credits roll, all in a very bootleg-ish sonic quality. They seem to be from the same footage used on 1992年6月22日 インクスティック.スズエ. (at least, the same tour), but the snippets here are generally longer or different from the other tape.