8mm film by Yukiyasu Shimada. Performed by Shimada and Ichigo-chan. Shooting assistance by Kenji Onishi.

In the summer of 1998, the filmmaker went home to Takasaki to film the birth of his brother and sister-in-law's child. Days go by and the child is still to be born. With time on his hands and no one to talk to, the filmmaker finds the phone number for a telephone date club, and calls up with an earnest de- sire: I'd like to talk to a girl. While following the conventions of film-diary form, at some point the filmmaker falls into a times pace tunnel of false memory.

A man fingering the girl before killing her. Camera cuts to blue sky and cat. A man choking his girl. Onishi at his usual with framing, extreme close-ups, expectations and black inserts.

This is a film about a medium approaching extinction, an 8mm documentary film about a vanishing 8mm cinema. Blending two genres, the science film and the personal film, and benefiting from the participation of multiple generations of cineastes, it is a reflection upon the original cinematic experience.

Nakagawa shot “Coming Future” on the nights of December 24 and 25, 2009, in Shibuya, making it his location for an idealized Bohemia in the heart of Tokyo. Interesting interviews/discussions with Kenji Murakami, Nobuhiro Yamashita, Kenji Onishi, Tetsuaki Matsue and more... By far the most interesting sequence is with Kenji Onishi (“A Burning Star”). Wielding a super-8 camera, Onishi documents his own interview, taking random shots of street-life and buildings. He leavens his monologue with statements bordering between cliché and outré. “A movie that aims to make a message is boring.”

The documentary version of "Kaidan Shin Mimibukuro" titled "Kaidan Shin Mimibukuro Nagurikomi!" series. "Gekijō-ban Kantō-hen" takes viewers into the magical mountains of Tanigawa-dake, where the largest number of people have been lost in Japan, and into the sea of trees at Mt.

Kenji Murakami seeks out legendary wildman director Kenji Onishi and arranges a meeting with director Yoko Oguchi. The meeting turns unexpectedly intense...

The Underground Water (1996) comes as an ode to water in its forms and to that connected sounds, ice, drinking, mirroring, bathing, washing, pearling on a window, raindrops, reflecting architecture and grey trees. Dry leaves, wooden floors and a young man smoking a cigarette. Windows and doors are preparing the framing. The wind is coming up. Will it rain today? A young woman is pressing her face to a TV screen, all in blue but it is not water refreshing her. In her eyes, you see some hidden memories and dirty tennis balls lying on the street sucking up the drops of the rain.

The documentary version of "Kaidan Shin Mimibukuro" titled "Kaidan Shin Mimibukuro Nagurikomi!" series. "Gekijō-ban Kantō-hen" takes viewers inside a haunted place in Okinawa that still bears the scars of the Pacific War!

‎The film heritage of Yukiyasu Shimada.

A man fingering the girl before killing her. Camera cuts to blue sky and cat. A man choking his girl. Onishi at his usual with framing, extreme close-ups, expectations and black inserts.

This work is a confession of the genre of video-through horror docs and its terminal situation. In a bleak location, the film expresses the resignation and apathy of young people

The Underground Water (1996) comes as an ode to water in its forms and to that connected sounds, ice, drinking, mirroring, bathing, washing, pearling on a window, raindrops, reflecting architecture and grey trees. Dry leaves, wooden floors and a young man smoking a cigarette. Windows and doors are preparing the framing. The wind is coming up. Will it rain today? A young woman is pressing her face to a TV screen, all in blue but it is not water refreshing her. In her eyes, you see some hidden memories and dirty tennis balls lying on the street sucking up the drops of the rain.

Kenji Onishi short film time-lapse projection at YIDFF 2013 (Yamagata International Documentary Film Festival).