LU Ruiqi / 19min / 2020 / Streaming available from Mar 1-13, 2021
Lu tried to create a film where feelings and pictorial logic overrides the logic of narrative. By using a string of globular images and making them echo, the film exudes a sense of the tactual, of melting and fluidity.
What is Happiness?: Time with my Grandparents (幸せについて、祖父母との時間)
MURAKAMI Sara / 9min / 2020 / Streaming available from Mar 1-13, 2021
Murakami’s film poises the lifelong question of the meaning of happiness to her grandparents and records their response. While her premise is simple, it also probes the relation between the camera and the self. The dividing line between the public and private begins to blur: is she truly filming to let the viewers indulge in her grandparent’s wisdom, or is the camera a way for her to broach these questions on her behalf?
hi ka ri (hikari)
WATANABE Hana / 9min / 2019 / Streaming available from Mar 1-13, 2021
Based in Tokyo, WATANABE Hana is a filmmaker and visual artist who uses videos, photographs, graphics, and language, to express herself, using the motif of everyday scenery, and memory in a particular place. hi ka ri is emblematic of her ethos, using chaotic scenery and noise to give a sense of alienation to everyday life where, in the midst of being swallowed by the everyday, she carves out a space to express her true self.
We Love Cycling (私たちはチャリ乗るのが大好き)
YANG Pulaixin / 13min / 2020 / Streaming available from Mar 1-13, 2021
Four bicycles intervene in the unique Japanese public space of residential life known as “団地”(Danchi) where the field of vision where all objects are equalized from above forms an interlocking geometry. Generally depicted is a massive activity sphere that is restrained from the moment words and actions come out. This experimental short film may make the viewers rethink the images scattered in daily life.
YE Ziyi / 4min / 2019 / Streaming available from Mar 1-13, 2021
Ye’s Audio-visual interactive live performance and installation is inspired by a curiosity of a virtual body experience. It aims at creating a confusion of the objective body and projected body, tactile touch and imagery, “digitized” touching in a virtual environment, and posing the question of the embodiment / "presence" of touching.
Why I am here now (なぜ私は今ここにいる)
YUAN Shuohan / 15min / 2020 / Streaming available from Mar 1-13, 2021
Set to playful visual experiments on imagery of the mundane and the everyday, Why I Am Here Now narrates a highly personal exploration of the self by director Yuan Shuohan. As she strides over cultural, geographic, and temporal bridges, namely from Japan and to her home in China, Yuan creates a visually unsettling yet increasingly intimate atmosphere through a candid, sincere exploration into her private world that both compares and contrasts the border crossing of her parents and range of experiences that has affected her own psyche.