Hiroyuki Oki

This work by Hiroyuki Oki was originally conceived as an installation with four beamers projecting different video fragments in a particular order. Here, rhythmical multiscreen editing and poetic voiceover create a multidimensional elegiac space riddled with people, snow-covered city streets, and written notes.

8mm short shot in Kochi Prefecture by Hiroyuki Oki.

Matsumoto's last video was produced by Sano Gallery. Matsumoto set the common theme as “Seeing” in 2009, six co-writers participated to directing the omnibus film, "Seeing". Initially, there were no plans to expand it into trilogy, and Matsumoto was also limitedly involved in the work. Later, Matsumoto envisioneds works that pursued the omnibus format, and sets up a common theme of "memory.” Afterwards, Matsumoto begun the production of Pilgrimage into the Memory, a reconstruction of works produced by five participating artists. However, the Great East Japan Earthquake occurred while producing the work. Matsumoto shocked by the earthquake and Fukushima Daiichi nuclear accident, he decided to produce a new work, All Things Change, and titled it's trilogy, Toro no Ono Daisambu. The third part, All Things Change, consists of videos produced by Tanotaiga, Kanako Inaki, Hiroyuki Oki, Okuno Kunito, and Tanako Tanaka.

A highly contagious incest virus induces several generations of a Japanese family to have sex in all possible constellations and across gender boundaries – and with that man in a bear costume who suddenly appears? Only in Japan!

Takachi, a young porno star from a small town in Japan is found dead. His death provides the opportunity to show us his true emotions, and how his two best friends in Tokyo remember him. These two travel back to Takachi's town, Kochi, which Takachi himself had visited just prior to dying. In Kochi, all boys seem to be angels.

Takachi, a young porno star from a small town in Japan is found dead. His death provides the opportunity to show us his true emotions, and how his two best friends in Tokyo remember him. These two travel back to Takachi's town, Kochi, which Takachi himself had visited just prior to dying. In Kochi, all boys seem to be angels.

Oki fuses documentary elements with narrative filmmaking to such a point that it's difficult to distinguish one from the other. The film is both the story of two men falling in love with each other on a beach, and a faithful document to the filmmaking process. In the film within a film titled "Gay Couple Trying to Connect on the Beach", the documentary footage of director Hiroyuki Oki will be double and triple transcribed. The documentary film explores the relationship between the director and the world, as well as interviews with friends. Soon the director realizes that "kokoro" is not what is inside of him, but the feeling that arises when confronted with something.

Oki fuses documentary elements with narrative filmmaking to such a point that it's difficult to distinguish one from the other. The film is both the story of two men falling in love with each other on a beach, and a faithful document to the filmmaking process. In the film within a film titled "Gay Couple Trying to Connect on the Beach", the documentary footage of director Hiroyuki Oki will be double and triple transcribed. The documentary film explores the relationship between the director and the world, as well as interviews with friends. Soon the director realizes that "kokoro" is not what is inside of him, but the feeling that arises when confronted with something.

Oki fuses documentary elements with narrative filmmaking to such a point that it's difficult to distinguish one from the other. The film is both the story of two men falling in love with each other on a beach, and a faithful document to the filmmaking process. In the film within a film titled "Gay Couple Trying to Connect on the Beach", the documentary footage of director Hiroyuki Oki will be double and triple transcribed. The documentary film explores the relationship between the director and the world, as well as interviews with friends. Soon the director realizes that "kokoro" is not what is inside of him, but the feeling that arises when confronted with something.

Oki fuses documentary elements with narrative filmmaking to such a point that it's difficult to distinguish one from the other. The film is both the story of two men falling in love with each other on a beach, and a faithful document to the filmmaking process. In the film within a film titled "Gay Couple Trying to Connect on the Beach", the documentary footage of director Hiroyuki Oki will be double and triple transcribed. The documentary film explores the relationship between the director and the world, as well as interviews with friends. Soon the director realizes that "kokoro" is not what is inside of him, but the feeling that arises when confronted with something.

The work of Japanese experimental filmmaker Hiroyuki Oki as been described as "queer ambient film," and this work brings his fascination with dream-like images and manipulation of time through editing to a new level. Yusho-Renaissance follows an artist and his companions on a trip to the forest, while a mysterious but beautiful woman follows; without a structural narrative, their journey becomes a lovely but surreal parade of images, altered through editing, filmed at multiple speeds or modified by video manipulation.

A man named Shiki has been sent to a company in Matsuyama. Since Shiki was famous as a baseball club member at a previous company, there is a story about baseball clubs in the company. Ken, who was a player in high school, participated without being reluctant, supported by his lover Michiko.

A man named Shiki has been sent to a company in Matsuyama. Since Shiki was famous as a baseball club member at a previous company, there is a story about baseball clubs in the company. Ken, who was a player in high school, participated without being reluctant, supported by his lover Michiko.

Commissioned by the city of Kochi to mark the opening of its Museum of Modern Art, this experimental feature by Japan's foremost gay indie film-maker almost defies description. The film is divided into six 10-minute chapters (or 'boxes') which, says Oki, add up to an image of 'heaven'.

A conceptual pinku film by renowned experimental artist Hiroyuki Oki, which is conceived of 60 shots which all are 60 seconds long and represent an absurdist take on the narrative and stylistic schemes of erotic cinema.

A conceptual pinku film by renowned experimental artist Hiroyuki Oki, which is conceived of 60 shots which all are 60 seconds long and represent an absurdist take on the narrative and stylistic schemes of erotic cinema.

Japanese student You throws his relationship with boyfriend Shin into jeopardy when he begins an affair with an attractive man he meets at a train station. You attempts to come clean with his secret, but ending the affair proves too difficult. As a complicated and dangerous love triangle develops between these three men, each one begins to closely examine his identity, sexuality and intentions.

Japanese student You throws his relationship with boyfriend Shin into jeopardy when he begins an affair with an attractive man he meets at a train station. You attempts to come clean with his secret, but ending the affair proves too difficult. As a complicated and dangerous love triangle develops between these three men, each one begins to closely examine his identity, sexuality and intentions.

Japanese student You throws his relationship with boyfriend Shin into jeopardy when he begins an affair with an attractive man he meets at a train station. You attempts to come clean with his secret, but ending the affair proves too difficult. As a complicated and dangerous love triangle develops between these three men, each one begins to closely examine his identity, sexuality and intentions.

A film like an Impressionist painting; the kind of paintings to have titles like 'urban view from the artist's studio'. The film is largely set in the film-maker's home and the street in the provincial town of Aichi where he lives. Minor everyday incidents are observed poetically; the melancholy mood of the images is boosted by serene electronic music. There is no dialogue; the sound track only comprises streets sounds as well as the music. Loose, almost nonchalant impressions of the street or of cloudy skies are juxtaposed with posed, almost photographic mildly homo-erotic portraits of friends of the film-maker. Tarch Trip is made up of fragments of a cinematographic diary, which are however not edited chronologically. Two periods alternate. One is characterized rain and dark cloudy skies. The other is sunny and repeatedly accompanied by three friends

A film like an Impressionist painting; the kind of paintings to have titles like 'urban view from the artist's studio'. The film is largely set in the film-maker's home and the street in the provincial town of Aichi where he lives. Minor everyday incidents are observed poetically; the melancholy mood of the images is boosted by serene electronic music. There is no dialogue; the sound track only comprises streets sounds as well as the music. Loose, almost nonchalant impressions of the street or of cloudy skies are juxtaposed with posed, almost photographic mildly homo-erotic portraits of friends of the film-maker. Tarch Trip is made up of fragments of a cinematographic diary, which are however not edited chronologically. Two periods alternate. One is characterized rain and dark cloudy skies. The other is sunny and repeatedly accompanied by three friends

A film like an Impressionist painting; the kind of paintings to have titles like 'urban view from the artist's studio'. The film is largely set in the film-maker's home and the street in the provincial town of Aichi where he lives. Minor everyday incidents are observed poetically; the melancholy mood of the images is boosted by serene electronic music. There is no dialogue; the sound track only comprises streets sounds as well as the music. Loose, almost nonchalant impressions of the street or of cloudy skies are juxtaposed with posed, almost photographic mildly homo-erotic portraits of friends of the film-maker. Tarch Trip is made up of fragments of a cinematographic diary, which are however not edited chronologically. Two periods alternate. One is characterized rain and dark cloudy skies. The other is sunny and repeatedly accompanied by three friends

A film like an Impressionist painting; the kind of paintings to have titles like 'urban view from the artist's studio'. The film is largely set in the film-maker's home and the street in the provincial town of Aichi where he lives. Minor everyday incidents are observed poetically; the melancholy mood of the images is boosted by serene electronic music. There is no dialogue; the sound track only comprises streets sounds as well as the music. Loose, almost nonchalant impressions of the street or of cloudy skies are juxtaposed with posed, almost photographic mildly homo-erotic portraits of friends of the film-maker. Tarch Trip is made up of fragments of a cinematographic diary, which are however not edited chronologically. Two periods alternate. One is characterized rain and dark cloudy skies. The other is sunny and repeatedly accompanied by three friends

Chronicles ten days spent at a seaside town; five of them with a visiting boyfriend, and five more after the boyfriend's departure.

This film consists of several portraits of boys, sometimes alone - in an interior, in front of a window, other times in a group, three dancers on a roof - or even as a couple, kissing, hugging. These scenes are intertwined with each other, supporting a waking dream whose desire is the driving force.

"I sobbed today..." This bizarre monologue is followed by a dialogue with a unique tempo. Then, fragments of daily life are written on the screen in an unhurried manner. When the dialogue and the screen are fused together, there is an exquisite sense of mismatch, and a warm and heart-warming world begins to unfold on the screen. The film is a humorous essay in the form of a letter to a lover, telling the story of an ordinary day, but with a descriptive power that is anything but ordinary.

Short film by Hiroyuki Oki.

The establishment of Hiroyuki Ohki's Matsumae-Kun's film is an inversion of the relationship between reality and image, as opposed to a documentary, in which something is happening in reality and the filmmaker goes there to make images of it, or story film, in which the filmmaker goes there to make images of it because there is something most suitable for embodying his or her ideas. It can be said that this is the case. Herein lies the film's acute problematic nature.

The film was made in a period of three weeks in the summer of 1989. It starts in a youth hostel somewhere in the mountains where Oki has a temporary job and continues in the outer suburbs of Osaka. A short silent film that Oki made in 1988 is included as a flashback in the film.

Oki Hiroyuki's First Film shot at a mountain lodge. "The film was simply a series of landscape shots, without a story." (Oki Hiroyuki).