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A self-documentary in which the director turns the camera on his own daughter, who suffers from congenital hip and brain impairments, and observes her life over the course of a year.

A man returns to his hometown and waits for a woman at the train station, and the dialogue between the man and the woman is interwoven. The film stars Yamakawa regulars Muroi Shigeru and Sato Akihiro in the lead roles.

An upbeat comical animated collage telling the story of a man attempting to fly with artificial wings.

A short animated film by Tadanari Okamoto.

Pinku from 1972.

Being Women in Japan documents the recovery of Michishita’s sister from brain surgery, which hospitalized her for four months. Michishita's interest was not only in the personal struggle of her sister to regain her health, but also in how this crisis caused a major rupture in the daily life of her sister's family.

Yamazaki's films are strongly related to his photographic work, which is concerned with filmic temporality and the understanding of cinema as a time-based medium. His observational films explore the relationship between the camera and nature, the optical characteristics intrinsic to the tool, and how it facilitates the understanding of the dimensional and transitional elements of recurring natural phenomena. (Cinema Parenthèse)

Pink film by Kan Mukai.

Photographs of a nude, arranged into stop-motion sequences on the left half of the screen, are juxtaposed with a close-up of the film itself passing in front of a viewer, gradually revealed on the right half of the screen.

In 1971, while the Japanese prime minister Sato Eisaku was visiting South Korea to attend a party for President Park Chung-hee, a group of eight South Korean hibakusha (atomic bomb survivors) took a direct petition to the Japanese embassy. The South Korean hibakusha were detained by South Korean authorities for the duration of the prime minister’s visit. This film follows the lives of these eight people. That same year, Son Chin-tu, a hibakusha who had entered Japan illegally and was being held at the Omura Detention Center, filed his so-called “Hibakusha Certificate Lawsuit,” demanding Japanese residency and medical treatment.

The 1976 version is the final version, but it is a reworking, with more nesting, of the version made and screened in 1974. It is the final version that I would like you to see, but I have also kept this version with less nesting, because having both seemed to assert the nature of the nesting structure.

Nikkatsu Roman Porno. (short movie)

A documentary Ichikawa made for the 1970 Osaka Expo, originally made for projection on eight split panels.

The bloom of wild roses connects an aging soldier from a large country with a youthful soldier from a small country, but the two are soon parted as one of them becomes a casualty of war.

Pink film directed by Mamoru Watanabe.

Experimental short by Iwata Kazuo

Director Inudo's first film, influenced by Masato Hara's "Ballad of Sadness Colored by Strangeness," Kazuki Omori's "Flying Saucer" series, and Kiyoshi Kurosawa's "School Days. A film about the breakup of the group and another film shot on the same day. In the summer of 1978, a boy who is too absorbed in the stage and the movies gets his first menstrual period, and by making a film called "Change Your Mood," he changes his mood and gets through his period. The power of showing the film as being about something familiar and then lifting it up to a fictional structure and putting everything that the filmmaker feels about the time period in which he lives into it is overwhelming. The power of this film is overwhelming to the viewer.

This film documents the Sagicho Fire Festival, which takes place in the eight communities constituting Oiso, a town located in the warm climate along Kanagawa Prefecture’s Sagami Bay. It begins at the year’s end with an event in which children take the lead. With the new year, an okariya shelter is constructed in town for the dosojin guardian god. Then, saito bonfire structures are burned on the beach and young men perform a tug of war in the water.

A member of the collective Video Hiroba, Morihiro Wada also used video in his solo projects. In The Recognition Construction, each subject entering the frame is identified by a narrator, while the video camera slowly rotates. As the rotation speeds up the identification becomes more difficult, and the objects ultimately become "indecipherable."

The film begins with a morning scene in an apartment, which one might expect to be a drama about a college student living with a man and a woman, but the style takes a turn when the man and the woman, who had left for school one step ahead of the others, suddenly return home by train. What lies behind, what has passed, passes by with an indifferent face. The author's method of daring to focus on the behind is not only to tell the story through the image of the protagonist, but also through the people in the image, or through the author's own image. It is told not only through the image of the protagonist, but also through the people in the image, or through the artist's own image.

In an esoteric temple, grown men return to their boyhood and play innocently. Model aeroplanes, paper butterflies, vehicles, tin toys... the things that boys like emerge from the darkness. A short film that visualises dreams of a distant boyhood with a unique aesthetic.

"The Myth of the Heavenly Road Pilgrimage," is about a young man and woman, was filmed on location at Mt. Mihara on Izu Oshima. The music was composed by members of the "Taj Mahal Traveling Troupe. In 1971, he travelled to India, where there were almost no Japanese travellers at that time, and travelled through India and Nepal.

In Kō-Fū, Touch Me transformed everyday snapshots into a world of intense luminosity by applying frame-by-frame optical processing using an optical printer he made himself. Kō-Fū translates as “Shining Breeze” and refers to “a scene of rice fields just after a typhoon has gone, when it is still windy and the leaves of rice are waving in the stream of wind with raindrops which are shining by reflecting the sunlight." The repetitive, flickering images and minimalist music create a psychedelic trip effect in this film, which is made up of short, high-contrast black-and-white footage processed through precise frame-by-frame optical processing.

The documentary is a record of a marriage ceremony that took place in April 1971 and was performed in accordance with Ainu traditions at the request of the young bride. There were two hurdles to overcome in the realization of the ceremony: first, a group of Ainu had to be convinced, who were against a revival of the tradition. Secondly, there were only a few members of the community who knew the details of the ceremony at all, since most of them had already been celebrating a wedding in their own style for over 80 years.

16mm, b&w, silent, 1'00

Short 8mm film made by Naoto Yamakawa while studying at Waseda University.

Pink film by Yoshiaki Horikoshi.

The two volumes of illustrations left behind by Iseya Kichizaemon, a former Hayayusho who opened his shop on Hongo Street, known as Nikko Onarido during the Ansei period, depicted the lives of the common people of Edo at the time. This work carefully traces the illustrations and looks at the joys of the lives of the common people of Edo.

A special one-off program, featuring Toei's tokusatsu superheroes, which was broadcast on NET.

『A QUIET DAY』1977/15min

Cessna consists of a series of short takes, alternating the visual pace through the movements of subjects and camera, which reveals Nakajima's studio space and later the process of making the film.

Experimental short by Kiyota Shiro

Short film by Japanese filmmaker Jun’ichi Okuyama.

This work depicts the sculptor Kiuchi Masaru's creative studio and the work without any verbal explanation.

The nature of the relationship connecting the camera and subject with some kind of energy, filmed in 3 parts. For example, in the third part the camera is hanged from a tree, running out one roll of film three minutes ni length filming the flowers in a garden. This minimalism was conceived from the filmmaker's possessing a very simple camera with no screw holes for a tripod.

The image captured by moving the camera left and right moves left and right on the screen. The screen was then re-shot by moving the camera left and right. When the image movement and the camera movement are in the same direction, there is no movement, and when they are in the opposite directions, the movement accelerates.

In the pilot episode: Azteckaiser has a mystical gem on the forehead of his mask called the Star of Aztec, which grants the wearer incredible power (as well as turning him and his surroundings into anime).

Experimental short by Yoichi Nagata.

Originally shot on 16mm film and presented at Maki Gallery, this work primarily focuses on traffic traveling up and down the major traffic artery Omotesandō in Tokyo. Prefaced by the Wittgenstein quotation included below, the image focuses on the vanishing point—aligning it with the top of the frame in wide shots—and movements of vehicles up and down the boulevard. While the film's first half presents a stationary shot, the second half follows individual cars and motorbikes, zooming in to frame them at a consistent size even as they advance toward and recede from the camera.

This is a documentary in which the camera's gaze is surrounded by a consciousness of staring, and this consciousness brings about a clear stance in approaching the subject. The distance between the able-bodied and the disabled is made clearer here by depicting it from the side of the disabled, and the film's title, "Why are schools for the disabled wrong? The title of the film, "Why are schools for the disabled wrong? This straightforward attempt at the most basic of documentary filmmaking, how to bring the subject to oneself, succeeds in capturing the full power of film itself, not just within the genre of documentary. The film is a success.

This work was started in 1967 as a documentation of Nakajima’s life. The footage was edited into a single piece for the first time in 1974, in time to show the work to the curator Barbara London, who was visiting Japan. Generations of his family were lost and gained that year, with Nakajima's mother passing away, and then his child was born. The piece is an installation with two monitors; the left presents his mother and himself, and the right, his child and himself. Nakajima continues to work on the sequels of "My Life" with his grandchild.

Short 16mm film made by Naoto Yamakawa while studying at Waseda University.

The camera slowly zooms, in over a long period of time, on the light of the sun reflected in the mirror of a bicycle parked at the construction site. To this is added a slowly evolving flicker effect derived from negative-positive reversals, progressively dismantling the distance from the subject. Nakai created a masking film with a calculated pattern of black and white frames into which he inserted positive and negative images and made a print out of two separate rolls of film. The original projection speed was 16 frames per second, but the sound is separate from the open-roll tape rather than burned in, so it can also be screened at 24fps. Also, the original sound consisted of the friction noise of rubbing steel, but in 2019 a new version of the sound was created featuring the friction noise of glass. Two versions of the film exist: 24:15 mins at 24 fps and 40 mins at 16 fps.

A documentary about the atomic bombing of Hiroshima in 1945.

In his early experimental short Karma (カルマ, 1977), Aihara uses water as his central motif. The film is hand drawn and appears to be shot on 16mm using a blue filter. At first we can only see tiny specks on the screen, coming and going like snow flurries. The specks gradually grow larger and take the shape of bubbles, then even larger into rivulets of water on a transparent surface.

A short animated film by Tadanari Okamoto.

Kunitoshi Manda's first film. A monologue and dialogue about love.

Experimental short by Tetsuo Furudate.

Pink film by Kan Mukai.

It depicts a day in a somewhat poor apartment life, where I eat and edit 8mm film. I was criticized for the terrible way I washed rice, but anyway, I edited many shots taken at each step of the movement together to recreate a certain time of day through the movement of my eyes.

Animated film by Seiichi Hayashi.

A piece of white paper with “IMAI” typed on its surface is placed on top of a paper cone speaker, which emits the recorded sound of Imai’s heartbeat. As the iron coil fixed to the inner part of the speaker vibrates back and forth, the piece of white paper flips up and down, as if it has a life of its own. This work demonstrates Imai’s desire to visualize the sound created by an inner organ that one is usually not conscious of hearing.

Short work.

When taking a microscopic view of a dot of the printer ink, it begins to transform into unstable forms. The other sphere/eyeball which appears when moving away from the dot, suggests the overlay of the swaying of the retina that occurs when staring, and the motion within animation.