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The Hari Hari Island Adventure Rally is just about to start! Hello Kitty, Keroppi, and other Sanrio favorites have gathered in fantastical cars for an endurance race around the island’s many obstacles. Sam and Chip think their vehicle has what it takes to win the checkered flag, but after a late start and a few unfortunate accidents, can this plucky duo survive the odds and pull off a victory?

"In this piece, the figure of a person is transforming into the chunks of black and white, and the black area and the white area start to move around by themselves. Maybe I was interested in the relationship between the internal world (body) and the external world (environment), as well as the relationship between the existence and nonexistence." - Tamami Asada

A gunman is a skilled assassin who kills a cash robber. With an unbelievable bounty on his head, his next target is a serial killer called "The Reaper". But when he finally confronts the Reaper, he is immortal and does not die, even with a windpipe in his chest, while the gunman is cornered and on the verge of disaster. With the help of his friends, he manages to turn the tables and blows up the 'Reaper' with dynamite, but the 'Reaper' still does not die. As a last resort, the gunfighter delivers a desperate blow that somehow ends the Reaper's life. The gunman then leaves without a trace.

A people who mourn their own deaths. A man is walking carrying a hearse. His steps stop at a grave. The man buries the hearse he has been carrying in the hole and lies down in it. The closed hearse is covered with soil, by whoever's hand, it was. At the same time, a number of hearses identical to the man's are quietly washed out to sea. The rituals of the protagonists, who are presumably not of high culture, towards their own life and death are the height of simplicity and holiness. The camera quietly following them has the power to make us wonder if such practices really exist. A beautiful and sad poetic portrayal of death.

Every day is peaceful. There is an elderly couple who live together. The husband still works, albeit sparingly, and the wife does the housework. They eat together, know each other's tastes, and talk a little while watching TV. The film is a quiet account of their unhurried life together. The camera's gaze is quiet but gentle as it carefully follows the old couple, interspersed with summer scenes from the countryside, like a documentary. The camera's gaze is quiet but gentle, and the occasional embarrassing gestures and expressions on the couple's faces give the viewer a sense of closeness to the camera (and to the people holding it). The old man is a very picturesque subject even when he is just standing there, but this film has a peculiar rhythm to it, which may be staged or naturalistic.

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.

Everything you see and hear is a toy box of horror. Like a flood of light, this collage of glittering images continues uninterrupted. The images, which unfold rhythmically without gaps, maintain a single image, from the elaborate props to the nondescript room scenes. There is a story to be told, but more than that, what emerges naturally is the smell of death and night. The smell is not only dark and frightening but also innocent, like a child's idea of mischief being carried out. This is because he has the sense to refer to Frank Zappa's "Lumpy Grape" as a reference. The original music is also pleasant, reaching the ear like a whisper of light particles.

It's Sunday morning. A boy is drinking tea in the kitchen. Next to him is Maggie, the black maid. He drops his cup on the floor and is about to sip from Maggie's cup when his mother enters the kitchen. Without saying a word, the mother takes the cup Maggie handed her and makes the boy brush his teeth. The boy was curious about Maggie. Eventually, he went to Mass with his mother, and while praying, he saw a scene that was neither dream nor reality. Standing at the entrance to the all-white chapel, the boy forced Maggie's hand and invited her in... The author, Matine de la Harpe, is a South African woman who used to make documentaries for television. The film has a professional feel to it, with appropriate camerawork and a condensed structure. Her ability to get her message across in 10 minutes is impressive.

A surreal puppet animation about one day in the life of an old man. The story takes place in the house where the old man lives. When the old man gets out of the bath and goes down the spiral staircase, a young man in a bathrobe suddenly appears, ranting loudly about something. Surprised, the old man goes after him and finds the young man in the cellar struggling with another man. The man's head falls and rolls. From then on, a dizzying world of images unfolds in rapid succession, the space becomes cosmic, and various objects begin to float. As the artist himself says, "I created this work as a single image", and it is perhaps best to let the flow of images unfold in front of you, rather than trying to read some kind of narrative. The dolls are grotesquely detailed, the sets like works of art. The props and objects have a natural texture. It is a work of such a high standard that anyone who hears that it took three years to make will nod their head in agreement.

A "letter film" in the form of a monologue addressed to Mayu, the eldest daughter of a cousin. Dear Mayu. I was very happy to see you after a long time. And then the filmmaker begins to talk about her own experience. Two years ago, when I had a lump in my breast, I went for a cancer check-up. Two years ago, when I had a lump in my breast, I went for a cancer check-up, which was the first time I saw my vagina and womb. The screen inserting Mayu's image playing by the river into the artist's image during the examination expresses the anxiety and loneliness of growing up and the awareness of one's own sexuality that lies ahead. The anxiety that Mayu feels now is something that the author herself felt in the past.

Saiga brushes his teeth with purified water and rubs the bench with alcohol before he sits down. Saiga, an extremely fastidious man, is the number one salesman of condoms. But in reality, he is a rebel who denies the existence of human beings and challenges God to stop the birth of more "life". But selling condoms is not enough to stop the population from growing. He becomes impatient and finally decides on a new strategy: indiscriminate murder. The film is a well-constructed hellscape that draws you in, and the Jack Nicholson-like protagonist dominates the screen with his overwhelming presence. A hard-hitting feature-length drama with terrifying visuals that depicts the "crime and punishment" of a single act of madness.

A short special program in memory of Shotaro Ishinomori.

The moon is deeply related to the human body. On the full moon night, crime goes on increasing. Does the moon influence the human power of tingling with excitement? In my images, I try to express the moon and the blood of crime, a feeling which arose in my body and mind.

Experimental work by Isao Yamada (Color, 8mm).

Experimental work by Isao Yamada (Color, 8mm).

Experimental work by Isao Yamada (Color, 8mm).

I want to live with the things I love and cherish. My family and I live in Ayase, and I work at a bookstore in Ikebukuro. Sometimes I open a store at a flea market with a friend. We sell tableware, which she likes, and accessories made from buttons, which I make, and they are quite popular. With the money we saved there, my friend went on a long-awaited trip abroad. My goal is to start living alone. Today is my day off, so I go out to check out an apartment. I stopped by a park and saw cats having a meeting. When I saw the old building, I suddenly wanted to see my grandmother, so I took the train... The entire film is written in monologue and with a handheld 8mm camera, and features all the things "I" like: buttons, the dawn from my room, cats, the ocean, and my grandmother. There is no context, no meaning, no great sense of beauty, but they play a comfortable rhythm and a beautiful melody. This is a fictional essay whose natural gentleness reminds us of non-fiction.

The artist’s first 8mm film, shot at the age of 19 with a friend.

The road to the sky is a ladder. The only "vertical road movie" in the world. Kimama-chan is a liar, selfish and extremely pushy. She is a liar, selfish and extremely pushy, so much so that even one of her few friends plans a trip with another girl. When Kimama finds out about this, instead of feeling sorry for herself, she prepares a long ladder and starts to observe and disturb her rivals in order to outwit them. But it's all for naught and she sets off on a journey up the remaining ladder. After meeting and parting with a mysterious man, the journey turns into a journey to find something. Will Kimama-chan be able to find "something"? Will she be able to come back to earth after the climb? I wanted to make a vertical road movie", says the director. Perhaps the only one of its kind in the world, what awaits her in the sky?

Nagaya Miho started out making private documentaries, but has since shifted to creating even more personally developed works. By layering different aspects of light, for example, lightning and blinking fluorescent lights, The Mercury leads introspective images to a release.

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 by Ono Kouta

Short film by Ono Kouta

Short 8mm film by Toshihiko Omote.

An anime made entirely in sumi-e following a child fox spirit and his morphing ability for haunting but he ends up getting scared himself.

Portraying the fifty-year history of zainichi (long-term residents in Japan) Koreans after the liberation of Korea, traces of zainichi evoked in this film question the concepts of 'post-war democracy' and 'pacifism' in Japan. With copious stock footage and testimony, the first half of the film, "History," chronologically traces the various experiences of zainichi from Japan's defeat (Korean liberation) through 1990. The latter half, "People," focuses on first, second and third-generation zainichi respectively, vividly depicting how they live.

"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."

Mainly working with simple, soft-lined drawing animation, Yamamoto aggressively takes in live action images from the late 1980s. Though this piece starts out with live action filming, the eventual appearance of the "phenakistoscope" animation composed with live action images is a true gem. Yamamoto always has been acknowledged for her skill in blowing in "anima – spirit" and boldly tries out a new experiment of blending it in with the live action image. What is awesome is that the huge phenakistoscope that appears in the live action shooting with no composites has power to nullify virtual distance and existence within what is called the image. There, a "composite-like reality" emerges.

An aged lady and his idiot manservant are secluded in a red chamber. The room has no clocks, and all day a ritual is held in the form of the grand dame's grumblings. Perhaps only a select few spectators may see the sublime in her. Suddenly, a portrait of a young woman disrupts her tedium, and the painting comes to life.

Pekkle and his friends find a treasure map that will lead them to a stone that will grant one wish, and they go on a treasure hunt.

This was an animated promotional video that Falcom commissioned for Ys IV: The Dawn of Ys game for PC Engine, to shop around to various production houses. This was done in hopes of getting it made into a full-scale animated series/movie/etc., but it never panned out.

Stop motion animation using gypsum.

Experimented to exchange time with space. Used a kind of image processing which converts the increment of scanlines to passing of the time, and, converts the increment of frames to translation in the space.

A somewhat dark and surreal tale by Naoyuki Tsuji. Our protagonist sets out on a journey in a world which starts at The Gate of Confusion. To complete his travels, he must meet various strange characters to relieve himself of his burdens and set himself free.

Action of the character in the film is expressed by monochromatic still pictures, in fine, time is in cut state. Though color scenes inserted in the film have flowing time, we can't easily recognize that the scene is moving, because of the fixed shoot. I expressed the fixed time of still pictures, and the eternity and the timelessness, in this film. (The eternal flow of time in fixed scene, or time which is kept stopping.)

You can see the woman sitting still and the landscape in turn. In this film, the character is not the heroine, and is equated with the landscape. As the subject is equated with the existence of a film too, the difference of time each having is presented in this film.

Short by Koji Yamamura

Three months after the death of her father, Hiroki, Yuka has withdrawn from the world and spends her days shut away at home. One day, her boyfriend Masashi invites her on a drive. On the way back from visiting her father’s grave, Yuka becomes fed up with Masashi’s thoughtless and childish behavior and suddenly gets out of the car.

Four thousand years into the future, during the Earth’s fifth ice age, the surface has become so cold that humanity now lives underground, enclosed within massive walls.

Experimental film by Yosuke Okawado.

Experimental short by Visual Brains.

Experimental film by Yosuke Okawado.

Experimental film by Yosuke Okawado.

Experimental film by Yosuke Okawado.

Experimental film by Yosuke Okawado.

Experimental film by Yosuke Okawado.

8mm film by Yosuke Okawado.

Experimental film by Yosuke Okawado.

8mm film by Yosuke Okawado.

Experimental film by Yosuke Okawado.