Takuji Suzuki began making films with a camera pointed at his own face. Whether in a room, in a classroom, or on a journey through the wild, the artist's face speaks to the camera. And then there is the interaction with his "uncle" who plays the violin like a saw. This is the endpoint of the unique act of the artist, who keeps turning the film to discover his identity. No one else can give you this taste.

Takuji Suzuki began making films with a camera pointed at his own face. Whether in a room, in a classroom, or on a journey through the wild, the artist's face speaks to the camera. And then there is the interaction with his "uncle" who plays the violin like a saw. This is the endpoint of the unique act of the artist, who keeps turning the film to discover his identity. No one else can give you this taste.

Unholy Women (Kowai onna), is a composite of three unrelated half-hour horror movies. A compilation of 3 separate short horror films (Rattle Rattle, Hagane, The Inheritance) written and directed by Keita Amemiya, Takuji Suzuki, and Keisuke Toyoshima respectively. The first segment, “Rattle Rattle”, tells the story of a young woman who is pursued by an evil other-worldly being. The second movie, “Steel”, concerns a young man who agrees to take the sister of his boss out on a blind date, drawing him into a world more frightening than he ever dreamed possible. The third and final episode, “The Inheritance”, is a supernatural tale of a woman and her young son, scarred by abuse and psychological trauma.

A short film about a dysfunctional band and a strange fluffy creature they run over.

Sakiko, a young bank teller, has an unhealthy obsession with money. Thieves hold up the bank, kidnapping Sakiko in the process, but eventually crash their car, resulting in a suitcase stuffed with cash falling into a nearby river. For the remainder of the film, Sakiko begins a desperate quest to retrieve the money.

After class, first-year junior high school student Katsuhisa Okuda always wishes to go home quickly. One day, however, chasing a mysterious rabbit leads him to join the school’s brass band club. The brass band had the longest practice hours of any club, but Katsuhisa gradually becomes absorbed in music. Having devoted himself to practice for the regular concert, the long-awaited day finally arrives.

A writer from Kamakura named Hiraoka Eisei is researching supernatural stories but finds himself revisiting memories from a previous visit to his wife’s home town. Ogura Kako,a shy local woman, is asked to help an actor from Tokyo practice speaking with Kyoto intonation and, after the lesson, he asks her to show him around Arashiyama.

Unholy Women (Kowai onna), is a composite of three unrelated half-hour horror movies. A compilation of 3 separate short horror films (Rattle Rattle, Hagane, The Inheritance) written and directed by Keita Amemiya, Takuji Suzuki, and Keisuke Toyoshima respectively. The first segment, “Rattle Rattle”, tells the story of a young woman who is pursued by an evil other-worldly being. The second movie, “Steel”, concerns a young man who agrees to take the sister of his boss out on a blind date, drawing him into a world more frightening than he ever dreamed possible. The third and final episode, “The Inheritance”, is a supernatural tale of a woman and her young son, scarred by abuse and psychological trauma.

Made under the restrictions of "no zoom, pan, editing or post-sound", directors Shinobu Yaguchi and Takuji Suzuki skewer Japanese social conventions in 14 short episodes. In one segment a woman misreads an advertisement and arrives at a job interview dressed in a bunny suit. Another concerns a woman who hides to surprise her friends only to overhear their unkind appraisal of her hygiene. And another entitled "Grandpa from Hell" is a surreal yarn about a cult leader. Ranging from the humorous to the deeply bizarre, the film's static, minimalistic style makes such "Dogme 95" films as The Celebration (1998) look extravagant.

Takuji Suzuki began making films with a camera pointed at his own face. Whether in a room, in a classroom, or on a journey through the wild, the artist's face speaks to the camera. And then there is the interaction with his "uncle" who plays the violin like a saw. This is the endpoint of the unique act of the artist, who keeps turning the film to discover his identity. No one else can give you this taste.