Producer
I lived in Aomori until my first year of high school. My memories of Yoriko, the girl in the white blouse. I moved to a new school and after a long time, I came to Aomori. I call Yoriko. The story of my youth is told through subtitled conversations, stills and live-action. The film's fresh visuals, which make use of experimental techniques such as frame stretching and special filters, and the lyrical music permeate the film in a pleasant way.
Script
I lived in Aomori until my first year of high school. My memories of Yoriko, the girl in the white blouse. I moved to a new school and after a long time, I came to Aomori. I call Yoriko. The story of my youth is told through subtitled conversations, stills and live-action. The film's fresh visuals, which make use of experimental techniques such as frame stretching and special filters, and the lyrical music permeate the film in a pleasant way.
Director
I lived in Aomori until my first year of high school. My memories of Yoriko, the girl in the white blouse. I moved to a new school and after a long time, I came to Aomori. I call Yoriko. The story of my youth is told through subtitled conversations, stills and live-action. The film's fresh visuals, which make use of experimental techniques such as frame stretching and special filters, and the lyrical music permeate the film in a pleasant way.
Director of Photography
I lived in Aomori until my first year of high school. My memories of Yoriko, the girl in the white blouse. I moved to a new school and after a long time, I came to Aomori. I call Yoriko. The story of my youth is told through subtitled conversations, stills and live-action. The film's fresh visuals, which make use of experimental techniques such as frame stretching and special filters, and the lyrical music permeate the film in a pleasant way.
