Salvador Tari

A man claiming to be the heir of an estate in northern japan finds himself at the doors of his mansion, only to find it overrun by servants and maids playing pretend as master or mistress, while the real master is nowhere to be found. As he makes his way down the many rooms of the mansion and witnesses the staff's strange antics, he gradually loses his own role and sense of identity. In this subversive play performed by Tenjo Sajiki, the spectator is asked to question their own role as hierarchical structures are reversed and walls between character and actor, actor and audience gradually break down.

Fasciné par sa mère disparue, Akira essaie de retrouver les paroles d'une comptine qui évoque pour lui le bonheur, la période heureuse et insouciante de l'enfance.

Film expérimental, sans fil narratif, enchaîne les scènes de provocations (extrêmes) sur l’état du Japon-du monde des années 1960. L’Empereur Tomato Ketchup est un enfant gâté révolutionnaire. Il découvre et abuse de ses nouvelles possibilités comme le pouvoir sur les adultes et la sexualité. L’enfant s’amuse de sa position tant qu’il est encore enfant, avant de devenir à son tour l’esclave des plus jeunes.

Paper-Scissor-Rock wars draws an episode where the two generals portray the Second World War, mostly through the rock-scissors-bag, but also by some absurd torture techniques that bring to mind some sort of Japanese artificial 70s jack ass. To the sound of classical music, birds chirping and Nazi incendiary speeches travels generals, ever contestant in the seemingly meaningless game around at an abandoned industrial area.

As a family goes on with their day, the shadows on their walls lead a completely different life.