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.

松山の、とある会社に子規という男が出向してきた。子規は以前の会社では野球で活躍してきたので、ここでも野球部を作ろうという話が持ち上がった。 高校時代に名スラッガーだった健は、恋人のミチコに後押しされ、野球部に参加することになった。ある日、子規は健に、自分が以前の会社の野球部の男仲間との恋愛問題が表沙汰になって左遷されたことを伝えた。 子規がゲイだと知った健は、風呂で子規の裸を見たとたん、なぜか欲情する自分に気づき、悩んだ。

松山の、とある会社に子規という男が出向してきた。子規は以前の会社では野球で活躍してきたので、ここでも野球部を作ろうという話が持ち上がった。 高校時代に名スラッガーだった健は、恋人のミチコに後押しされ、野球部に参加することになった。ある日、子規は健に、自分が以前の会社の野球部の男仲間との恋愛問題が表沙汰になって左遷されたことを伝えた。 子規がゲイだと知った健は、風呂で子規の裸を見たとたん、なぜか欲情する自分に気づき、悩んだ。

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.

「君がいて、ぼくがいて、映画がある」 『松前君の映画』は二部構成になっていて、導入部の第一部は「非松前に於ける松前君」というタイトルのもとにまとめられているが、これが駅のブリッジで待っている女の子に向って行くと、その子がカメラを持っている当人に向って「松前君」と名指す、とカメラを女の子に渡して自分を撮ってもらい、Tシャツの胸に「松前」と刷ってあるのを示す、というカットの繰り返し、それに離れた二つのプラットホームのこちらから向うへ、向うからこちらへと行ったり来たりするシーンになって、導入部は終る。ここで「彼」は「松前君」になるというわけであろうか。一種の命名の儀式ということであろう。そして、第二部の「松前君の映画」へ展開する。つまり、松前町での「彼」の「映画行動」の記録となる。しかし、松前町に行って「何か」を撮るという目的があったとは見えない。旅館の一室から窓の外を撮る、室内のテレビなどを撮る、外に出て何とはなく街の風景を撮る、部屋で自分を撮る、カメラを廻しながらマスターベーションをして、その自分の男根を撮る、そのカメラを夕暮れの街に向け、鏡に映る自分を通って、射精する男根へ戻す、といった具合に、自分を撮るというところではどこか儀式めいた行為を重ねながら、町の中を、最初は表通りとか公園の城とかそんなものしか撮れなかったのが裏通りでも撮れるようになり、町の人の姿が撮れなかった

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).