D East Asian Experimental Competition4

【TOKYO】Theatre Image Forum:9/18(SUN) 16:00、9/21(WED) 18:30
【KYOTO】Kyoto Minami Kaikan:10/9(SUN) 13:30
【NAGOYA】Aichi Arts Center:11/26(SAT) 11:00

4 works, 102 min.

Hong Kong, Singapore

A Long Walk

Elysa WENDI & LEE Wai Shing / digital / 15min. / 2022

Turning from scenes of a clear stream running through the wilderness, the camera captures a man walking through a manmade tunnel. The slowly revolving camera robs the viewer of their sense of balance and imparts a floating feeling like the weightlessness seen in a science fiction movie set in outer space. Malaysian-born contemporary dancer Ong Yong Lock plays the dancing man.

Elysa WENDI is a dance artist and filmmaker working between Singapore and Hong Kong. Preoccupied with the abstraction of memory from place, time and biographical traces, Wendi explores these themes in her live and filmic works. Her short film 1958 Delivery won the Best Experimental Film award at the 2018 South Taiwan Film Festival, and her film Forgive or Not to Forgive won Best Documentary at Hong Kong Art House Film Festival 2020.

LEE Wai Shing
LEE Wai Shing studied Visual Communication and started his career as an independent filmmaker after graduation. In recent years, he started to create dance videos. His work A Rock won the Jury Prize at the 5th Dance On Screen Film Festival. Lee was the Production Assistant of Chinese Independent Documentary Lab. He is one of the founding members of an independent film ensemble 1930 collective.



TEZKA Macoto / digital / 32min. / 2021

Shinjuku, Tokyo. A forest of skyscrapers. A dancer rises from below ground to above ground, legs lifted high, arms waving broadly, and dances as though confronting the big city itself. She dances in the elevator of a skyscraper, and does a pole dance in a room on one of the highest floor. From below the ground to high in the heavens, an astounding performance. The title comes from the name of an old neighborhood in Shinjuku, “Tsunohazu.”

TEZKA MacotoA visualist born in Tokyo. With the title of Visualist, he engages in a variety of art/expression including film. His feature film Hakuchi, The Innocent has received the Digital Award at the Venice Film Festival. The most recent feature Tezka’s Barbara has won the best film award at Fantafestival and Lusca Fantastic Film Festival. Other representative works include MODEL(1987), NUMANTE (1995), The Experimental Film(1999), MIND THE GAP(1921).

Taiwan / USA

Grandma’s Scissors

Erica SHEU / digital / 6min. / 2021

A great number of flowers, trees on mountains, breaking waves, raindrops connecting with the window… A montage with distinctive camerawork and a rich sensibility that unsteadily moves closer and further from a flower, its subject coming into and out of focus. The texture of 8mm film rich in poetic feeling relates memories of a grandmother, as though guiding us to the distant corners of memory. Screened at International Short Film Festival Oberhausen.

Erica SHEU
Erica SHEU makes short films, expanded cinema, and installations based on celluloid film. Her work is often about diary filmmaking, cross-generational memories, history and language, collective singularity, and/or Taiwanese identity politics. Her films have been shown at NYFF, TIFF, IFFR, Oberhausen, EXiS, and TIDF, among others. SHEU is a member of ReaRflex, a Taiwanese experimental film collective.


Rehabilitation of Synthetic Human

SERIZAWA Yoichiro / digital / 49min. / 2022

The filmmaker, who has addressed the theme of “concordance of subject and technique,” finally completed this “sequel” that has been in the works since Synthetic Human (1993). He has developed the unique concept of synthesizing “the seer” and “the seen,” and in this work incorporates multiple points of view. What will the filmmaker’s two friends and his daughter see from three different places in Japan?

Born in 1963. At the age of 17, his film, Really? was selected for PFF81, and he entered the world of Independent film. After making a series of bloody films, he learned “unity of subject and technique” through works by Robert Bresson and Junichi OKUYAMA, which changed his style in filmmaking. After Killer Camera (1996), he had been absent. With Survival 5+3(2016), he resumed making films after 20 years.

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