Kenji Onishi

Experimental film by Kenji Onishi.

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8mm short by Kenji Onishi and Tohru Mabuchi.

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Planet +1 Osaka. Screening associations of Silverpencils.

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Experimental short by Kenji Onishi.

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Tales from a Super 8 workshop in Sangenjaya.

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Tanzan Shrine, also known as the Danzan Shrine.

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The underground cinematheque. Last time Fujica and 311 Fukushima. The case against perfection - Fujica Single-8.

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8mm short by Kenji Onishi and Tohru Mabuchi.

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A summary of the 2011 shorts diary films by the filmmaker, wasting away meters and meters of 8mm film.

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Experimental short by Kenji Onishi.

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A brief 8mm film sketch of a screening at Hairo.

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Experimental short by Kenji Onishi.

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Experimental short by Kenji Onishi.

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Experimental short by Kenji Onishi.

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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.

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Experimental short by Kenji Onishi.

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A nostalgic summer festival. Revisiting some dark footage through the images of memory. As an afterimage, it appears like a ghost.

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The director films his friends and an UFO at Chichibu.

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Experimental short by Kenji Onishi.

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Experimental short by Kenichi Kataoka.

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VIDA, starring AV actress Hotaru Hazuki, is an erotic work aiming directly at the Hypothalamus. DEATH is an event that makes life emerge in a different language. The film was entirely self-developed at home

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

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A behind the scenes documentary of Kenji Onishi's never completed 35mm feature film "Shiroyasha", shot between 2002 and 2004.

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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.

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Zetcho is a feature shot on film, including the typical colouring of washed-out white and blue. Again Onishi brings together the couple’s problems, nature and brutalism, set against a colour-changing skyline or in small apartments. The structure of architecture and the one of nature. A cat hiding behind a car. While it all turns out to be a drama of killing and brutalism against women.

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Zetcho is a feature shot on film, including the typical colouring of washed-out white and blue. Again Onishi brings together the couple’s problems, nature and brutalism, set against a colour-changing skyline or in small apartments. The structure of architecture and the one of nature. A cat hiding behind a car. While it all turns out to be a drama of killing and brutalism against women.

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Blue Max (1997) shows a woman looking out of a window, but also working with extreme close-ups: The street, her neck, the window, her knees, the floor and her toes, brought together by the sound of a passing train. Her ears, her mouth, the wall and the door. The sparkling glass of a window and the young woman on top of a naked young man and later the shadows on the wall of both of them. A telephone is ringing and the clouds in the blue sky are travelling by while it all turns into a rape. And the calmness of both of them is quite irritating when they later watch TV together. (www.desistfilm.com)

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Out of Frame (1996) plays with your expectations and the way how we are used to “read” pictures and their framing. A woman is rubbing herself against a white wall, making the typical noises of having sex from the back, and Onishi takes his time to open the framing and then showing them in explicit positions. You don’t see the penetration but watch the rhythm of two bodies, listening to it, too. The framing by windows will allow you some rest. The man is putting on his clothes and closing the door while the woman is looking out oft he window. Onishi’s typical black inserts again, and we watch the same couple on the toilet, where he is putting her hands into hand-cuffs. After that he is showering her carefully, and she remains in hand-cuffs while they are having sex again under the shower. He is using his revolver then to free her from these metal things. And the toilet is a calm place when she comes back after strangling a young man on the street.

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It is all flickering neon-light with Aquarium City (1996), a feature film of 76 minutes, using black inserts and the structure of the tatami again. Blue and grey are the most prominent colours, and a sky turning white while a young woman is using drugs and waving her hair. The needle in her arm, and we are watching from a distance while cars and motorcycles are passing the street. The possible contrasts in beauty seem to be Onishi’s theme, so after the dark street we watch another woman masturbating while sitting on a chair. But later placing the needle in the vagina of another woman. The sun is shining outside and cars continue driving. But the power is gone. And the way out is never anything else but a black hole.

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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.

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It is all flickering neon-light with Aquarium City (1996), a feature film of 76 minutes, using black inserts and the structure of the tatami again. Blue and grey are the most prominent colours, and a sky turning white while a young woman is using drugs and waving her hair. The needle in her arm, and we are watching from a distance while cars and motorcycles are passing the street. The possible contrasts in beauty seem to be Onishi’s theme, so after the dark street we watch another woman masturbating while sitting on a chair. But later placing the needle in the vagina of another woman. The sun is shining outside and cars continue driving. But the power is gone. And the way out is never anything else but a black hole.

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A woman is rubbing herself against a white wall, making the typical noises of having sex from the back, and Onishi takes his time to open the framing and then showing them in explicit positions. You don’t see the penetration but watch the rhythm of two bodies, listening to it, too. The framing by windows will allow you some rest. The man is putting on his clothes and closing the door while the woman is looking out oft he window. Onishi’s typical black inserts again, and we watch the same couple on the toilet, where he is putting her hands into hand-cuffs. After that he is showering her carefully, and she remains in hand-cuffs while they are having sex again under the shower. He is using his revolver then to free her from these metal things. And the toilet is a calm place when she comes back after strangling a young man on the street.

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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.

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Squareworld has a stark, minimal narrative: a drug-addicted man kidnaps a young woman from the hills, holds her prisoner and eventually kills her and disposes of her body. We learn almost nothing about either the victim or her tormentor, and the film contains no moral judgments –Tony Rayns

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Squareworld has a stark, minimal narrative: a drug-addicted man kidnaps a young woman from the hills, holds her prisoner and eventually kills her and disposes of her body. We learn almost nothing about either the victim or her tormentor, and the film contains no moral judgments –Tony Rayns

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Experimental film by Kenji Onishi.

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With the core members Shin Sasakubo and Daisuke Aoki, as well as a revolving set of members depending on the contents of the work, the CHICHIBU AVANT-GARDE art collective engages in expressive activities such as music, film, art, photography, writing, and theater. Filmed in 8 mm film there is a distinctive color and texture, and a seemingly nostalgic impression from the land pattern of Chichibu that is the stage, but it has an unknown sense of apprehension. A variety of emotions and scenes come to light, such as a sense of frustration, relief or fear, some kind of madness, or warmth.

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Production and sale of Fujichrome RT200 sound film stock ended in 1999. It was the ultimate analogue technology allowing audio to be simultaneously recorded. As the director develops his film shot with expired RT200 stock, unique visuals and sounds begin to emerge.

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An 8mm film drama. Written by Fusako Kumagai and directed by Kenji Onishi.

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Out of Frame (1996) plays with your expectations and the way how we are used to “read” pictures and their framing. A woman is rubbing herself against a white wall, making the typical noises of having sex from the back, and Onishi takes his time to open the framing and then showing them in explicit positions. You don’t see the penetration but watch the rhythm of two bodies, listening to it, too. The framing by windows will allow you some rest. The man is putting on his clothes and closing the door while the woman is looking out oft he window. Onishi’s typical black inserts again, and we watch the same couple on the toilet, where he is putting her hands into hand-cuffs. After that he is showering her carefully, and she remains in hand-cuffs while they are having sex again under the shower. He is using his revolver then to free her from these metal things. And the toilet is a calm place when she comes back after strangling a young man on the street.

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A woman is rubbing herself against a white wall, making the typical noises of having sex from the back, and Onishi takes his time to open the framing and then showing them in explicit positions. You don’t see the penetration but watch the rhythm of two bodies, listening to it, too. The framing by windows will allow you some rest. The man is putting on his clothes and closing the door while the woman is looking out oft he window. Onishi’s typical black inserts again, and we watch the same couple on the toilet, where he is putting her hands into hand-cuffs. After that he is showering her carefully, and she remains in hand-cuffs while they are having sex again under the shower. He is using his revolver then to free her from these metal things. And the toilet is a calm place when she comes back after strangling a young man on the street.

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