Kaori Oda

An omnibus movie produced to commemorate the 10th anniversary of Motomachi Eigakan.

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A train runs at night. Goldfish float in passenger’s dreams.

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Cenotes—sources of water that in ancient Mayan civilization were said to connect the real world and the afterlife. The past and present of the people living in and around them intersect, and distant memories echo throughout immersive scenes of light and darkness.

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A moving image work from director Kaori Oda.

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Recorded the restoration work done for the reopening of Tadao Ando's "Chapel of the Wind" in Rokko, Kobe. It tells the length of time by showing the mold and moss that eroded the concrete. When the closed door is opened, the stopped time starts flowing again.

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A moving image work from Kaori Oda, inspired by the film "Desperate Man Blues".

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Miners in a Bosnian coal mine. The camera silently watches over the miners working tirelessly amidst endless noise and the flickering light of lanterns.

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Moments in the life of a young Japanese filmmaker in Bosnia, charged with acoustic and visual poetry. Buoyant and essayistic entries in a process of self- and world-reassurance.

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Old 8mm family film and images of fireworks combined together.

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“Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of color… Color itself is a degree of darkness.” –Johann Wolfgang von Goethe

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In a train from Sarajevo to Zagreb, looking at the landscape of the foreign country from a window, I somehow felt nostalgic and a question crossed my mind. “What is my first memory?” Could primitive memories be found and shared in human beings? If collective memories exist in us as what is inherited, I would like to know what it is like and to capture them by camera and sound recorder.

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The experiment presents a cinematic poem to filmmaking and film itself. Directed by eleven filmmakers, all under the vision of Bela Tarr's 'film.factory', delving into what keeps us making films.

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A cowherd, sheep, and the wind, all have an equal presence in the village. Death and life are one and indivisible.

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When Kacchi came back home for summer break from abroad, she came out to her family as a homosexual. Her mother and father couldn't take it and answered in negative. Though Kacchi had a depression for their reactions, she decided to face her family again throughout a filmmaking about the 'coming-out'.

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A short film about the "hand" that connect our world and the other side, under the background of "Matsuage" in Kyoto.

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Miners in a Bosnian coal mine. The camera silently watches over the miners working tirelessly amidst endless noise and the flickering light of lanterns.

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Moments in the life of a young Japanese filmmaker in Bosnia, charged with acoustic and visual poetry. Buoyant and essayistic entries in a process of self- and world-reassurance.

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A letter to a memory. /But then, /What is the lived time of a memory? /Memory preserves past. /And memory creates present. /Memories create sites. /Spaces and landscapes. /Memories can create memories. /Memories can create nowness. /Memories create the "I", remembering to remember and remembering to forget. /Memories unbody the "I".

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The experiment presents a cinematic poem to filmmaking and film itself. Directed by eleven filmmakers, all under the vision of Bela Tarr's 'film.factory', delving into what keeps us making films.

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A cowherd, sheep, and the wind, all have an equal presence in the village. Death and life are one and indivisible.

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When Kacchi came back home for summer break from abroad, she came out to her family as a homosexual. Her mother and father couldn't take it and answered in negative. Though Kacchi had a depression for their reactions, she decided to face her family again throughout a filmmaking about the 'coming-out'.

Open details →

A short film about the "hand" that connect our world and the other side, under the background of "Matsuage" in Kyoto.

Open details →