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Small Boat

The photographs of two elderly people used in this work were taken during a train journey in the first half of Ishii's previous work, "Wind crossing" He uses it as a photograph. There is no doubt that these two are particularly memorable for Ishii, but how should we as an audience perceive these acts? Then something occurred to me. In my work "Guiding Star", there is a part where I walk through an underground passage at night during a trip in Hokuriku. That place was Kanazawa. Lately I've been visiting Kanazawa every year for the Maki Asakawa live video screening, but most of the time I travel from Kansai to Kanazawa, or vice versa, by express bus. Then, the bus always passes through that underground passage. Ah, it was here. With that thought in mind, I play with the memories of that trip for a while, no longer happy or sad, but dry and dry. It might be something similar. However, in my case, unlike Ishii's narration in the story, I feel like "it somehow continued to live." M.Yamazaki

Small Boat

5.0 1992
Lights

"I've been screening film works for nearly 50 years, and out of the many screenings I've been to, there have been two times when the audience fainted. My work "Memories of the Seaside" and a certain work by Mari Terajima. However, Hideto Ishii's "Lights" was the only one that immediately after the screening, one audience member exclaimed, "It's amazing!" and stood up and applauded. When I thought who it was, it turned out to be the filmmaker Isao Kota. Sitting through this film for nearly 50 minutes can be a pain. However, what is unfolding here is neither a spectacular view nor a visual pleasure. If you were to ask me what it was, I would have to say "abyss." That's why I'm attracted to. As you watch this movie, you can eliminate the distractions that occupy most of your mind one by one. After just under 50 minutes, you might be able to reach some kind of catharsis." — Mikio Yamazaki

Lights

6.0 1999