Daïchi Saïto

Due to the SOMA secret society, Tokyo is under a chaotic order of destruction. People who have a high amount of MTE in them are kidnapped and brainwashed by the SOMA.

The expansive mountainscapes of the Andes are the basis for this new, 35mm film by Daïchi Saïto. Once again propelled by the free, pulsating improvisation of saxophonist Jason Sharp, in which his heartbeat and breathing play a prominent role, the series of images slowly becomes more abstract. The end result is a hypnotic, sensory meditation on ‘our’ earth.

The expansive mountainscapes of the Andes are the basis for this new, 35mm film by Daïchi Saïto. Once again propelled by the free, pulsating improvisation of saxophonist Jason Sharp, in which his heartbeat and breathing play a prominent role, the series of images slowly becomes more abstract. The end result is a hypnotic, sensory meditation on ‘our’ earth.

The expansive mountainscapes of the Andes are the basis for this new, 35mm film by Daïchi Saïto. Once again propelled by the free, pulsating improvisation of saxophonist Jason Sharp, in which his heartbeat and breathing play a prominent role, the series of images slowly becomes more abstract. The end result is a hypnotic, sensory meditation on ‘our’ earth.

Accompanied by an extraordinary improvisational score by Montreal-based musician Jason Sharp, Daïchi Saïto’s Engram of Returning is an epic 35mm CinemaScope metaphysical travelogue that reveals a supernal world which pulses and flickers with formal patterns and deep hues.

Appropriating a brief fragment from a 35mm print of an old Kung Fu movie, Never a Foot Too Far, Even is an action movie without action. Presented in double-projection, with images from two separate rolls overlaid to form a single image, this film focuses on an obscure figure finding himself in a forest path, caught between perpetual motion and stasis. The painterly images fluctuate in the complex shifting of color and texture, phasing in and out through a polymetric structure. It is a perceptual journey without destination in the turning sphere of ever-changing image and sound, whose beginning and end move in parallel towards a fleeting point of convergence. The palindrome of the title alludes to the structure of the film based on various combinations of a series of recurring sequences that move forward and in reverse simultaneously, defying the usual sense of progression. With original sound composition by Malcolm Goldstein.

Flickering lights and trees.

A vegetal portrait in which the shape of trees becomes pure color, light and shadow, an organic form in a permanent dialogue with abstraction.


Juxtaposition of seeing and sounding, sky and stone and all that's in between. A short walk in an alleyway, to hear vision sounding images, blessed with light and darkness.

A direct record with on-screen edition in which beings, objects, light, shadow, and color are portrayed in a program, as if they were part of an ecosystem.


A visual metaphor for creative process as a sustained state of flux, whereby the deconstruction and reconfiguration of source material manifest themselves as a series of rapid abstract movements. Alluding to the cosmic dance of Shiva, the film is an expression of primal rhythmic energy, moving dialectically but without sublimation. Regeneration ignites destruction, and transformation invites mutation, through clashes of opposing modes such as video/film, surface/depth, and light/darkness.

An exploration into perceptual processes in the act of seeing and listening, Chiasmus takes film as a metaphor for the breathing body, through the intercrossing of the medium and the fragmented images of the body in movement. The rhythm and tension created by the interplay between sound and image, and their disjunction and conjunction, aspire to an organic and sensual moment where inside becomes outside, and outside inside.