Script
The leading characters, A, B and C are caught up in the vicious spiral created by their desires. By coincidence, or perhaps not, the three become injured anally and find themselves in the waiting room of the same proctologist. it is here that they find a way out of their seemingly never-ending cycles.
Director
The leading characters, A, B and C are caught up in the vicious spiral created by their desires. By coincidence, or perhaps not, the three become injured anally and find themselves in the waiting room of the same proctologist. it is here that they find a way out of their seemingly never-ending cycles.
Sound Recordist
To miss the last bus home from work can be fatal. A businessman encounters leering hookers, a crazy cafe owner, and a gang of sadomasochistic nurses. And then things get really crazy. The anonymous main character floats around in an insane post-war Japan that defies definition, and tries in vain to get home.
Script
There is no dialogue or explanatory scenes at all, and the visuals unfold endlessly as information that appeals directly to the emotions rather than the feelings. The screen is divided into two halves and twice the usual amount of footage is shown, or the same image is shown one after another from different angles. As a result, the audience's brain comes to judge that the corpse is as beautiful as the body of a young woman who has just climbed out of a swimming pool. This film lets us experience a new relationship with images.
Art Direction
There is no dialogue or explanatory scenes at all, and the visuals unfold endlessly as information that appeals directly to the emotions rather than the feelings. The screen is divided into two halves and twice the usual amount of footage is shown, or the same image is shown one after another from different angles. As a result, the audience's brain comes to judge that the corpse is as beautiful as the body of a young woman who has just climbed out of a swimming pool. This film lets us experience a new relationship with images.
Director
There is no dialogue or explanatory scenes at all, and the visuals unfold endlessly as information that appeals directly to the emotions rather than the feelings. The screen is divided into two halves and twice the usual amount of footage is shown, or the same image is shown one after another from different angles. As a result, the audience's brain comes to judge that the corpse is as beautiful as the body of a young woman who has just climbed out of a swimming pool. This film lets us experience a new relationship with images.
