In 1960s Tokyo, Gonda owns a bar in which the gay, cross-dresser, and trans scenes meet. Gonda is in a relationship with the madam of the bar, Leda. As the younger Eddie starts a passionate affair with Gonda, she ignites the jealousy of Leda, unaware of another kind of history between them.

In 1960s Tokyo, Gonda owns a bar in which the gay, cross-dresser, and trans scenes meet. Gonda is in a relationship with the madam of the bar, Leda. As the younger Eddie starts a passionate affair with Gonda, she ignites the jealousy of Leda, unaware of another kind of history between them.

A young man kills his bride on the day of his marriage and goes insane. He wakes up in an asylum with no memory, left in the hands of two mysterious doctors who relate his condition with his biological identity.

Format: 16 mm standard; Color; Sound; 30 min 10 sec Sponsor: Japan Sake and Shochu Makers Association

Two chaotic series of images, one for each eye. Hipster living, malformed fetuses, war, arts events and pop culture stands for the material.

Repetitive abstract experimental film. A bearded man flickers past a hundred times.

Tells the story of the samurai Gengobe, who seeks revenge after falling prey to the schemes of a geisha and her husband.

By cutting up and zoom in on images of facades creates Matsumoto visual effects.

A young drifter and a precocious sixteen years old girl slowly form a bond in a small town haunted by its wartime past.

ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.