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Nakayama is a university student living an uneventful life in a manga club. Aya, a younger student, secretly has feelings for him, but Nakayama's feelings for Akiko Taniguchi, a classmate, and Fujima, a senior student, like Aya. Aya has secret feelings for him, but Nakayama has feelings for Akiko Taniguchi, a classmate, and Fujima, a senior, has feelings for Aya. These emotions intertwine, a casual human drama unfolds, and finally, the seasons shift. The story unfolds in an unhurried manner, without many ups and downs, but with a deep insight into the temperament of modern university students. The tasteful dialogue between the man and the woman is outstanding.

The film begins with a "Dog of Andalusia" style image. I don't mind if it's an imitation of Godard. The film begins with the words "I don't care if it's an imitation of Godard", and then a series of images that seem to imitate some film appear and disappear one after another. The film is interrupted by a sceptical narration, which pauses to describe the artist's anguish at not knowing how to end the film, even though he wants to. A light, self-assertive film that pretends to be a film imitation.

Based on a novel by Akagi Motoko; a physiological literary world written by a 20-year-old woman for a radio drama. While a girl misses the last train and spends the night in a phone booth, the words she speaks into the empty receiver impress us with her pregnant tenderness rather than the sadness of her separation from him. Gradually, as we see the gaps in her life, the death of her twin sister when she was a child, her desire to be independent from her mother, and the fact that she really misses him, the movement of images becomes the movement of emotions. The phone booth that is supposed to protect her from the rain looks like a womb, but it is actually cold. When she realizes this, the morning arrives.

Snares and worms live inside a pinhole camera. The film follows their narrative as they dream about everything. The camera, which has no lens, greedily shakes its head and tries to collect all the light in the world. Suna is not satisfied with the light that comes through the pinhole, but wants to turn his own eyes into a pinhole, and wants a landscape that is directly burned into his brain.

A young girl named Mu lives alone on the roof of a building. She is a whale from the sea. She has a black back and a white belly. One day, her back wants to meet her belly." Eventually, the girl's inner world slips away to the outside... This is a problematic work of "women's cinema" that reconstructs the subconscious of a young girl who is changing into an adult with symbolic images. Based on a psychological approach, the film weaves a unique fairy tale or nightmare with a multiple structure.

A very short animation drawn on tracing paper with a brush pen and coloured pencil. “This work was inspired by an impressive dream. In the dream, I took a dictionary that printed flip-books in the corner from a book shelf, and when I returned it, the book had disappeared.”[Yuko Asano]

Short 8mm film by Kawamura Mitsuhiko made in the third year of university. A twenty year old broken heart, Showa romance.

8mm film by Ohtani Jun

‘New York Hot Springs’ (1984) is scenes of steam coming out of many streets of New York, a typical scene in winter, in repeated cycles of short shots. Though the scenes are shot at the same locations, the timings are differed slightly in every cycle.

Experimental animation about the memory of childhood. 1 or 2 second paint footage that shot a baby who turned his face is repetitive. In Jun Kurosawa's works, the childishness is one of the most important factors. And it includes malicious in some cases – as Yukio Mishima has said "It is infantilism that all creative womb is".

The 16mm film sketch "月蝕" was copied directly onto 8mm film and remade with new material added.

“Movies shot on high-sensitivity 8mm film have rough grain, and you can see this grain moving in like a haze on the screen. Oil paintings show the texture of oil paint, and watercolors show the texture of watercolor paint and paper. Movies show the texture of film, and the smaller the area of ​​the film, the larger the grain seems, so its texture becomes more pronounced. The plane that takes off in the film gets smaller and smaller as it moves away, until it becomes smaller than the film grains themselves and is buried in the grains of the blue sky.” (Isao Kota)

Shinji is an unremarkable college student. Once again, he’s spending the day with his equally uninspiring upperclassmen and part-time coworkers, drowning their frustrations in drinks and complaints. Well, that would be the plan except Shinji can’t handle alcohol at all. When his senior, Doichi, forces him to drink a concoction of mixed alcoholic beverages and shouts, “Quit stuffing yourself with consolation parfaits and drink!”, things take an unexpected turn!

A medium-length documentary shining a light on the ‘Matagi’, a people who have made a living from hunting in the mountainous regions of Tohoku. Director Masanori Iwasaki, known in recent years for the ‘Fukushima: A Record of Living Things’ series, which captures the impact of the nuclear accident on the ecosystem, brings to life the daily lives of the mountain people in his native Akita Prefecture—a region with a unique culture—through meticulous research. Having spent three years visiting the Ani region of Kitaakita District, Akita Prefecture—the home of the Matagi who make their living from hunting in the mountain villages of the Tohoku region—Iwasaki accompanied them on more than a dozen hunting expeditions, capturing their skills, traditions and philosophy of reverence for nature.

“I held my finger between the projector and the screen and filmed while touching the projected object with the shadow of my finger. It's like playing with shadow puppets. The shadow that was originally imprinted on the film and the shadow of the finger or hand held out in front of the projector are both filmed shadows, so they are hard to distinguish. But you can't help but trying to distinguish them somehow. The inclusion of shadows that were not originally there adds a subtle flavor of fiction. I wanted to create a work that allows you to experience the textures - the texture of the water and the frog in the image, and the texture of nature made up of light, shadow and particles.” (Isao Kota)

“Film images are projected when light is emitted from the projector lens and reaches the screen. The projector and the screen are connected by a beam of light. If you block this beam with a white board, images are projected onto it, and these images are a cross-section of the beam of light. The beam is like a Kintaro candy: you can intersect it at any point and the same images will appear. I wanted to make a film that was like staring at this cross-section of the beam of light - like staring at an image that, after being emitted from the projector, is in the process of floating toward the screen.” (Isao Kota)

The piece is composed of four movements, imitating classical sonata form, and features photographs of walls, gravel roads, etc., which are likened to musical scales. At the climax, the photographs are shredded into pieces and their colors are changed by adding paint, creating a dazzling "visual music."

A friend's face illuminated by a bare bulb. A breakfast table. A woman taking a photograph. A woman's face as she smokes a cigarette. A woman in a nightgown. A dinner table at night. A scene from a car window. A naked woman tying her hair in front of a mirror. A woman frolicking in the sea. A woman drinking alcohol at night... As the title suggests, this work is made up of fragments of images that the artist took with his camera from time to time during this period. The material is limited to the artist's surroundings and the people around him, and the people are aware that they are being filmed, looking at the camera or smiling at the camera... In other words, they are looking at the artist behind the camera or smiling at the artist. The film records the gaze of the artist as well as the gaze directed at the artist. This is a valuable work that makes full use of the advantages of 8mm home movies.

16mm to digital, 7'00

The live action short film made during Mamoru Hosoda's college years.

Early autumn, with traces of summer still lingering in the air. Beneath a clear blue sky, a ship cuts across the open sea, sending up sprays of water as it powers toward its destination. Bathed in warm sunlight, a man dozes on the deck and begins to dream.

Tatsuya is a member of his university’s boxing club. He has been boxing continuously since his freshman year, but no matter how hard he trains, he never seems to improve and has never competed in an actual match. In fact, he has never even landed a single punch during practice.

When he awakens, there is a handgun lying before him. The moment he picks it up, a mysterious voice commands: “Shoot!” While fleeing from an unseen pursuer, the man searches for an opportunity to strike back. But as he is gradually cornered and finally discovers the true identity behind the voice, he is forced to make the ultimate choice!

Experimental film by Yosuke Okawado.

8mm film by Yosuke Okawado.

8mm film by Yosuke Okawado.

SM-themed original video.

One film when passed through two projectors the film will be shown on two screens in a multi-screen format. There is a time difference between the two projectors due to the distance between them. One person on the left and right screens. It looks as though they are enjoying the conversation. It is an installation and performance piece.

Educational Technology Seminar “Practical Training in Educational Material Production Using 8mm Film” Assignment 1984 8mm Film, an adventure chronicling the expedition of the "Kawaguchi Sisters" as they search for mysterious indigenous inhabitants along the Motoarakawa River.

8mm film made in 1982 by the Bunkyo University Film Research Club.

Experimental short by Yosuke Okawado.

Experimental short by Yosuke Okawado.

Experimental short by Harumi Fujii.

Experimental short by Harumi Fujii.

Experimental short by Harumi Fujii.

Experimental short by Harumi Fujii.

A short film about fire safety with a twist involving an alien in his spaceship working with the neighborhood kids.

Potomas the Hippo has a secret-he can speak like a human being, but only the young kids Maki and Toshi realize it. He also wears a bright green T-shirt with a giant letter "P" on it, but this is supposed to be nicely inconspicuous. Momentarily forgetting to keep quiet, Potomas speaks to a child he has just saved from drowning. Rumors soon spread about a talking hippo, and Potomas is forced to go on the run.

When I look up at the night sky, I sometimes feel like I am on a planet called Earth. During the day, plants communicate with the sun. Spiders climb the sky. I wanted to try carefully editing footage of the natural world around me, so I repeatedly shot and re-edited it, like solving a puzzle.

When you shoot incandescent light in daylight, the image appears blue. To compensate for this, you put an amber filter on the lens, but if you remove the filter from the lens and move it away from the camera, you will see two areas of different color temperatures. A series of photos was taken while rotating the filter around, and the area inside the filter becomes distorted as the shutter speed slows down.

Erotic drama distributed by Nikkatsu for home video.

The suspense is about a wife who has killed her old lover who is pressing her to get back together with him, and a daughter who is clairvoyant and can see through her own mother.

Ichioka Sanae's charming short animated piece.

Two children see a hat blown away by the breeze that lands at the top of a tall tree.

Erotic-drama distributed by Nikkatsu for home video.

Risa Sugino is into fashion. After finishing a still shoot in her studio, she spends the night with her lover in her room on the way home. The studio assistant who works for her girlfriend sneaks into her room...

Erotic-drama distributed by Nikkatsu for home video.

Different Hells, Different Trips.