Geidai Animation: 3rd Graduate Works 2012 (DVD)

Geidai Animation: 3^rd Graduate Works 2012 (DVD)

東京藝術大学大学院映像研究科アニメーション専攻第三期生修了作品集2012

The class of 2012 was taught by Professors Yuichi Ito (Model Animation), Mitsuko Okamoto (Production), Takehito Deguchi (Screenwriting), Koji Yamamura (2D animation), and Taruto Fuyama.  Assistant Professors were animator Hiromitsu Murakami and lecturers Ilan Nguyen and Eiji Otsuka.  Sayaka Omodaka, Hiroko Tochigi and Yuichi Matsumoto provided additional assistance.  Sound instructors for the films were Tatsuhko Nishioka, Toru Kamekawa, Yuichi Kishino, and Hiroshi Takayama.

Order Geidai Animation 2012

Two trends in the Japanese animation community are present in this graduating class.  The first animators from overseas – particularly other East Asian countries – coming to Japan to either study animation or work for Japanese studios.  Yuanyuan Hu, from Nanjing, is strongly influenced by her native culture in both her aesthetics and her stories, but two years after graduation she continues to live and work in Japan including as a teaching assistant at Geidai.  YungSung Song, from South Korea, has an abstract style all his own and also continues to live and work as a freelance animator in Yokohama. 

The other trend is the growing number of women directors in the animation community.  Women animators have long been represented in productions as inbetweeners, animators (both puppet and drawing), and producers, but more and more women are taking the helm as directors.  As they are still early in their careers, many of the Geidai graduates already have a strong, recognisable aesthetic all their own.  I am thinking in particular of 2010 graduate Saori Shiroki with her paint-on-glass technique, and from this graduated class Yuanyuan Hu’s colourful Chinese aesthetic, Aya Tsugehata’s puppet animation, Maho Yoshida’s strong visual storytelling, among many other talented young women. 

The Geidai 2012 graduates' works were well received at domestic and international festivals, particularly at the 16^th Japan Media Arts Festival.  Two real stand-out films from this group of grads is Maho Yoshida’s Recruit Rhapsody (read my review), which not only received great critical acclaim, but became a viral video online.  Ryo Okawara’s A Wind Egg (read my review) was also acclaimed at international festivals and went on to win the Lotte Reiniger Promotion Award at Stuttgart 2013.  Okawara was also responsible for this year’s poster art and DVD cover, as well as the opening trailer.  

Unless otherwise noted, the film descriptions below are from the DVD booklet.  I have updated biographical information and added links to official websites, blogs, and social media accounts.

Graduate Films

収録作品  第三期生修了作品

Open Play, Forgetting Eye

開かれた遊び、忘れる眼 / Akareta Asobi, Wasureru Manako / 2012年 / 8'39"

“The film is made with the Surrealist game ‘exquisite corpse’ as its core methodology.  Pictures are.  .  .  drawn repeatedly.  After several days [he] forgets the images he has drawn himself.  Through the accumulation of coincidences and contiguities the act of ‘combining the forgotten images together’ generates interstices, and finally this play gets its own rhythm and opens itself like a window through with the sunlight streams.”   

ALIMO (b. 1977) started makes his own animations while working as a medical cameraman.  After a student exchange to India, he developed his own original animation technique that combines painting and animation called “Animation Tableau”.  He is a graduate of the Institute of Advanced Media Arts and Sciences (IAMAS, 2008).  In 2008, ALIMO was honoured at the 11^th Taro Okamoto Award for Contemporary Art.  His graduate film for Geidai (2012), Opening Play, Forgetting Eye, made the Jury Selection at the Japan Media Arts Festival (2012).  ALIMO is currently a visiting researcher at the Estonian Academy of Arts.  Learn more on Studio Alimo’s official website.

Look at Me!

2012年 / 5'35"

“A high school girl [goes] to an amusement park in the afternoon.  .  .  [and loses] her bear key-holder when she changed key-holders.  [Believing himself to have been] abandoned, the bear tries to follow her.  Can he really gain her love?”

Senri Iida (飯田千里, b. 1987) is a native of Kanagawa Prefecture.  He began making animation as a high school student.  Iida did his BA in the Department of Imaging Arts and Sciences at Musashino Art University (2006) followed by his MA in Animation at Geidai (2012).  Check out his official website.

A Wind Egg

空の卵 / Kara no Tamago / 2012年 / 10'30"

“The film is about a family, [that] runs a chicken farm.  The boy hankers after birds and his little sister keeps an eye on him.  The father loves eggs.  The mother loves somebody else.  In the family fixture, each member stays there with bias or secrets.”

Read my full review of A Wind Egg.

Ryo Okawara (大川原 亮, b. 1986) is from Yokohama.  He has a degree in Design from Tama Art University (2009) and completed his MA in Animation at Geidai in 2012.  His 2009 Film Animal Dance received an Excellence Award from the Japan Media Arts Festival (2009). A Wind Egg won Okawara the Lotte Reiniger Promotion Award at Stuttgart 2013.  Okawara is a member of CALF Studio.  Follow Okawara on twitter and vimeo.

I am alone, walking on the straight road.

まつすぐな道でさみしい / Matsu suguna Michi de Samishii / 2012年 / 5'53"

“I tried to symbolize the emotion of loneliness with the motif of the poet, Taneda Santoka, who has broken the haiku form.  Cutout method depicts subtle face expressions of the man who is slightly drunk in the mountain[s].  .  .”

Masanori Okamoto (岡本 将徳, b.1985) grew up in Tokyo.  He studied Design at Musashino Art University (2008) before pursuing his MA in Animation at Geidai (2012).  He has shared samples of his work on youtube or vimeo.  He has two tumblr feeds, peamar and marpea, and can also be followed on twitter.  Check out his collaboration with the musician Saitone (サイトーン) on Hōhō (ホーホー).

Ukiyodoko

浮世床 / 2012年 / 8'00"

“The film is based on Ukiyodoko, a rakugo storytelling piece.  Hanzo, the hero, brags to his friends to make a party go.  Human nature remains unchanged.  .  .  We love meaningless conversations among boon companions.  Different communication methods are visually tangled in.  .  .  Edo and today.  The theme is an ‘interchange between the transient and the immutable.’”

Kazuya Karasawa (唐澤和也, b. 1985) is from Tokyo.  He has a BA in Animation from Tokyo Zokei University (2010) and an MA in Animation from Geidai (2012).  Follow him on twitter.

Sunset Flower Blooming

夕化粧 / Yugesho / 2012年 / 10'19"

“The film is set in China in the 1960s.  An old woman cools herself in the garden.  The sunset makes the sky orange.  Sunset flower starts to bloom.  The flower guides her to daydream.  The woman dreams [of her] childhood memories and when she was young and beautiful.”

Read my full review of Sunset Flower Blooming.

Yuanyuan Hu (胡 嫄嫄/コ・ユェンユェン, b. 1986) is from Nanjing, China.  She has a degree in Graphic Design from Nanjing University of the Arts (2009) and an MA in animation from Geidai (2012).  She continues to live and work in Yokohama.  Sunset Flower Blooming was named to the Jury Selection at the Japan Media Arts Festival in 2012.

Spirits from the Night

夜から来た人たち / Yoru kara Kita Hitotachi / 2012年 / 7'35"

“At night, the child sees the sandy figure coming into his room.  It lures his stuffed animal away from the shelf and they are gone beyond the hill.  Following them to get his stuffed animal back, the child goes into the deep darkness of the night.  .  .”

Hiroko Satsuma (薩摩 浩子, b.1987) is from Shizuoka.  She has a degree in Information Design from Tama Art University (2010) and an MA in Animation from Geidai (2012).  Follow her on twitter.

Hide-and-seek

かくれん坊 / Kakurenbō / 2012年 / 7'51"

“We covered the area surrounded by [sea] and mountains.  Since that day, this town has been in complete darkness.  Lights, roads home, a mother and a baby in her womb are hidden in this darkness.  This animation depicts the truth hiding behind the facts.”

Keiko Shiraishi (白石 慶子, b. 1985) was born in Tokyo.  She graduated from the Department of Moving Images and Performing Arts at Tama Art University in 2008.  Upon graduation, she worked at as a CG animator at SUNRISE until 2010 before pursuing her MA in Animation at Geidai (2012).  She now works as a freelance animator.  Follow her on twitter and check out her official website.

QQQ

2012年 / 8'20"

“Story of Qs.  Three Qs and more make QQQ.  QQQ spin and roll.  And QQQ transform themselves, spinning.  QQQ transform, spinning, rolling, swinging, turning, and traveling.” 

YungSung Song (宋 永盛 / ヨンソン・ソン) was born in South Korea and did his undergraduate studies at Musashino Art University (2009).  In his first year at Geidai, he made the abstract animated short PART BLUE (2010) and has an online magazine of the same name.  Check out Part Blue Magazine (in Japanese / in Korean).  Follow Song on vimeo.

The Surface of the Earth

2012年 / 6'03"

“Earth is the place and the established existence.  Earth is also a ball of dust, and a capricious object.  At the avalanche of time-layer, falling deep down into the ground, you can see the fallacious landscape far from reality.  The body recognizes the reality of the world by touching the landscape to regain the reality.  It is an adventure between the real and the unreal.”

Sonomi Takada (高田 苑実, b. 1982) was born in Tokyo.  She has a BA in Fine Art from Central Saint Martins College of Art and Design (UAL, 2009) and completed her MA in Animation at Geidai (2012).  You can find sample of her works on her official website.

The Sakuramoto Broom Workshop

櫻本箒製作所 / Sakuramoto Hōki Seisakusho / 2012年 / 9'16"

“An old couple live in a Japanese village.  The make [brooms] for a living.  They have been together.  .  .  and [worked together] for a long time.  Recently, the husband [has] noticed [his] wife has had some symptoms of the disease which has caused some obstacles in their work.”

Aya Tsugehata (告畑 綾, b. 1987) was born in Saitama.  She has a BA in Information Design from Tama Art University (2010) and an MA in Animation from Geidai (2012).  The Sakuramoto Broom Workshop made the Jury Selection at the 16^th Japan Media Arts Festival (2012).

xx

2012年 / 7'50"

“Red ribbon of [a] double helix is the [bond] to connect the girls; the transmitted touch of.  .  .  soft hands, and the gentle memories only girls can inherit.  Those dreamy moments abruptly end and the bodies transform regardless of their intentions.  The ‘xx’ gives and takes.  It is an inescapable thread of fate.  This is a girl’s animation to warn the end of girlfriend to warn the end of girlhood.  .  . ”

Toyomi Morishita (モリシタ トヨミ) was born in Osaka.  She has a degree in Graphic Design from Central St. Martin’s College of Art and Design (UAL, 2000) and is also a graduate of the Inter Medium Institute (2005) in Osaka.  She completed her MA in Animation at Geidai in 2012.  Follow her on twitter.

Tomato confit

トマトコンフィ / Tomato Konfi / 2012年 / 5'11"

“There once lived two brothers in a town.  The elder lived alone.  The younger lived with his parents.  They did not get along well.  .  .  They called each other occasionally.  The elder one was impatient and emotional and [did] nothing but work.  .  .  One day the elder brother’s face turned into a tomato.  .  .”

Mayuko Yamakita (山北 麻由子, b. 1986) was born in Nagoya, Aichi Prefecture.  She has a degree from the Department of Moving Images and Performing Arts at Tama Art University (2010) and an MA in Animation from Geidai (2012).  Check out samples of her work on youtube and learn more about her on her official website.

Recruit Rhapsody

就活狂想曲 / Shūkatsu Kyōsōkyoku / 2012年 / 7'27"

“The heroine has been living life as an undergraduate.  There is nothing remarkable about her.  However, she has noticed there [is] something strange about her friends recently.  She learned that they were getting mad about ‘job-hunting’.  Without realizing what [it] is, the [heroine also gets] drawn [into] the Nipponese job-hunting swirl.”

Read my full review of Recruit Rhapsody.

Maho Yoshida (吉田 まほ, b.1986) is a native of Tokyo.  She did her BA in Design (2010) and her MA in Animation (2012) at Geidai.  Follow her on her blog.

First Year Films

一年次作品2011

Island of Man

人の島 / Hito no Shima /2011年 / ALIMO / ALIMO / 6'32"

“A man dressed in a suit and wearing boots gazes at the beautiful ocean before him.  He looks exhausted and gazes at the beautiful ocean before him.  He looks exhausted and gazes at the beautiful ocean before him.  Until a few days ago, he was endlessly going back and forth between the ocean and the sky.  The story gradually trace[s] back into his life.”

From the Dolphin

イルカから / Iruka kara / 2011年 / 有吉 達宏 / Tatsuhiro ARIYOSHI / 2'09"

“The image of dolphins ties together this story.”

JAM FISH

2011年 / 飯田 千里 / Senri IIDA / 3'34"

“Depiction of an incident that happened one night.  .  .   as everyone returns to their hometown for the holidays, told from a child’s point of view.”

Fully Cooked for You

おにしめ おたべ / Onishime Otabe / 2011年 / 今林 由佳 / Yuka IMABAYASHI / 3'44"

“A mother making a traditional New Year’s vegetable dish for the family, and a child watching.  The ingredients are [anthropomorphic] peas, carrots, burdock root and konjak.  Enjoy the dish!”

BONNIE

2011年 / 岡本 将徳 / Masanori OKAMOTO / 2'27"

“BONNIE is something like the wind, and she was hoping that everything would get blown away.”

Ants in the Sky

空のアリ / Sora no ari / 2011年 / 唐澤 和也 / Kazuya KARASAWA / 6'05"

“There are creatures like this.  In the sky.  An ‘ant’ lost on earth and a man left behind.  Hey, listen to the request!  The man’s ‘ant gathering’ begins.”

Spots Spots

2011年 / 胡 嫄嫄 / Yuanyuan HU / 4'15"

“A young man is drawing sketches of birds in the woods.  The spotted pattern of the bird’s wings begins to scatter.  He gradually becomes mesmerized by the pattern.”

The Grouse in Snow Mountain

雪山のライチョウ / Yukiyama no Raichō / 2011年 / 薩摩 浩子 / Hiroko SATSUMA / 5'19"

“A man blown by [a] blizzard on Snow Mountain wants to return to his warm home.”

Peek-a-boo

いないいないばあば / Inai inai baa ba / 2011年 / 白石 慶子 / Keiko SHIRAISHI / 5'15"

“The old granny playing peek-a-boo is gone.  Instead, a stranger appears and draws closer to the child.  Peek-a-boo involves exercising memory, and looking directly at your partner.”

The Life of the Weed

草の一生 / Kusa no isshō / 2011年 / 高田 苑実 / Sonomi TAKADA / 2'53"

“A town flourishes on the sea, and a weed take[s] shelter there.  From then on, the weed endlessly repeats its small and harsh life. The weed uses its own body to perform a dance that condenses the things perceived in that town over a lifetime.”

Imamura Store

今村商店 / Imamura Shōten / 2011年 / 告畑 綾 / Aya TSUGEHATA / 5'16"

“There is an elderly woman who has run a store in a Japanese town for over sixty years.  She marries into the Imamura Store and cares for the shop by herself, as she lived each day as the present.”

Read the full review of Imamura Store.

Flowers

2011年 / モリシタ トヨミ / Toyomi MORISHITA / 4'58"

“A girl who loves to dance but has talent.  ‘Talent’ is not something to be added on, but rather ‘complements what is lacking’.  The important thing is to continually keep the easily wilted ‘flower’ blooming beautifully.”

Fleeting Dream

玉響の夢 / Yamayura no yume / 2011年 / 山北 麻由子 / Mayuko YAMAKITA / 4'01"

“A girl is informed by her doctor that she is pregnant.  Surprised by the unexpected announcement, falls into an anguish. The fleeting dream is a despairing dream.”

Al Dente Tango

2011年 / 吉田 まほ / Maho YOSHIDA / 4'08"

“The stage is a fancy restaurant featuring live tango performances.  Both the cuisine and the clientele are impeccable, and everyone is fully content.  But one customer’s visit disrupts the tranquility.”

Catherine Munroe Hotes 2014

Band of Ninja (忍者武芸帳, 1967)

Thanks to the Japan Visualmedia Translation Academy (JVTA), we were treated to a rare screening of the full length version of Nagisa Ōshima’s “motion comic” Band of Ninja (忍者武芸帳/ Ninja Bugei-chō, 1967) at Nippon Connection 2014 with new subtitles by JVTA.  A shorter version on 35mm with an English narrator has played occasionally at Ōshima retrospectives, but as the film is only available on DVD in Japan (without subs) it was wonderful to see an HD transfer of the film with JVTA subs.  The subtitles had a black outline to make them stand out against the white background.

Order the DVD: Ninja bugei cho (JP only)

Ōshima (大島渚, 1932-2013) is best known for his innovative, and often controversial, feature films that turn an unflinching eye onto social issues often ignored by mainstream cinema.  From bigotry and xenophobia (The Catch, 1961) to state execution (Death By Hanging, 1968, read my review), and from exotic asphyxiation (In the Realm of the Senses, 1976) to torture and war crimes (Merry Christmas, Mr. Lawrence, 1983), no topic was out-of-bounds for this filmmaker whom Maureen Turim called a “Japanese Iconoclast” (The Films of Oshima Nagisa, 1998).

Band of Ninja stands out from Ōshima’s other work because it is neither live action, nor a documentary, but a filmed manga.  Adapted from the popular epic manga series Band of Ninja aka Tales of Ninja (忍者武芸帳/ Ninja Bugei-chō, 1959-62) by Sanpei Shirato (白土三平, b. 1932), author of the legendary Garo series Kamui Den (カムイ伝, 1964-71), Ōshima’s film is often wrongly called an animated film.  There are actually no animated sequences in Ōshima’s film.   Instead he has brought the manga to life by actually filming the original illustrations. 

Although this sounds potentially very dull, Ōshima and cinematographer Akira Takada (Violence at Noon, Sing a Song of Sex), know just how to sustain visual interest. They use varying camera distances including many close-ups for character reaction shots.  A sense of movement is created by the camera itself moving across the page and frequent cutting.  The story is quite a fast-paced one, packed with changing locales and a wide swathe of characters, so there is hardly a chance to catch one’s breath.  A lot of the cinematic techniques used by Ōshima are commonplace in limited animation – particularly the way in which backgrounds are filmed.  The only difference is that the characters themselves are not moving at all either. 

The soundtrack makes up for the lack of animation with its use of professional actors and a narrator (Shōichi Ozawa), a lively soundtrack by Hikaru Hayashi (Onibaba, The Naked Island, Kuroneko, Postcard), and excellent special effects.  The film does feel a bit on the long side at 118 minutes, but when one considers that the original manga runs to 17 volumes, it’s clear that they streamlined the story quite a bit.  Long-time Ōshima collaborator Sasaki Momoru (佐々木守, 1936-2006) helped write the screenplay and would later to go on to work on a number of popular series such as Ultraman Taro (1973) and the Isao Takahata directed Heidi of the Alps (1974).

The story begins in 1560 (Eiroku 3) during a prolonged time of great upheaval in Japan known as the Sengoku Period (c.1467 - c.1573) or the “Warring States” period.  The central characters are Kagemaru (Rokko Toura), a dashing but mysterious ninja who seems to have the ability to magically appear and save the day when a situation seems impossible; Jūtaro Yūki (Kei Yamamoto), who seeks to avenge the slaughter of his father and restore himself as master of Fushikage Castle; Akemi (Akiko Koyama), Jūtaro’s love interest and secret sister of Kagemaru; and the baddie, Oda Nobunaga (Fumio Watanabe), the evil daimyō and nemesis of Kagemaru, who seeks to unify Japan through violence and oppression.

Trailer: Band of Ninja von scottpurin

The cast of characters is quite vast and it is hard to keep track of exactly where one is, which battle is taking place, and what year it is because the pace moves so quickly.  It is hard to imagine the manga being made as a live action film in the late 1960s because of the extreme violence and complicated special effects.  The ninja employ Kagemusha (影武者), “Shadow Warriors” or “body doubles” which could be achieved with today’s CGI but would have been difficult in 1967.  It occurred to me during the screening that Band of Ninja could easily be adapted as a kind of Japanese version of Game of Thrones.  It may seem hard to believe but I believe I saw more gruesome deaths and heads on spikes per minute in Band of Ninja than in a typical episode of Game of Thrones. 

If you are a fan of manga and have a chance to see this film, I highly recommend it.  The two highlights for me where the rollicking opening Kagemaru theme song and the way the camera lovingly shows off the original artwork by Sanpei Shirato.  A must-have for any fan of ninja manga.  To learn more about the manga, I recommend: Keith J. Rainville’s vintageninja.net and Ba Zi (aka Nicholas Theisen)’s What is Manga?

Catherine Munroe Hotes 2014

CREW

Director: Nagisa Oshima

Original Story: Sanpei Shirato

Screenplay: Mamoru Sasaki, Nagisa Oshima

Cinematography: Akira Takada

Editor: Keiichi Uraoka

Music: Hikaru Hayashi

Sung by: Sumito Tachikawa

Hideo Nishizaki

Producers: Masayuki Nakajima, Takuji Yamaguchi, Nagisa Oshima

Production Company: Sōzōsha

Distributer: Art Theatre Guild

VOICE CAST

Shōichi Ozawa (Narrator)

Kei Yamamoto (Jūtarō Yūki)

Akiko Koyama (Akemi)

Kei Satō (Shuzen Sakagami)

Noriko Matsumoto (Hotarubi)

Yoshiyuki Fukuda (Mufū-Dōjin)

Hideo Kanze (Nobutsuna Kamiizumi)

Nobuo Tanaka (Munetoshi Yagyu)

Juro Hayano (Boss of the Ikazuchi Band)

Shigeru Tsuyuguchi (Mitsuhide Akechi)

Fumio Watanabe (Nobunaga Oda and Kennyo)

Hikaru Hayashi (Tōkichirō Kinoshita)

Rokko Toura (Kagemaru)

Hōsei Komatsu (Onikichi [Zōroku])

Mitsuhiko Shibata (Ramaru Mori)

Keisuke Nakai (Takezō)

Ikuko Yamazaki (Chiyo)

Hideaki Ezuki (Head of the Village)

Kōichi Itō (Kyōnyo)

Yūko Hisamatsu (Kokemaru)

Minoru Matsushima (Girl)

Aiko Konoshima (female beggar)

Ikuyo Morita (another female beggar)

Tsuneo Sanada (Saizō)

Tadayoshi Ueda (One-eyed man)

Hatsuo Yamatani (farmer)

Sumiko Shirakawa (vagrant boy)

Anthology with Cranes (鶴下絵和歌巻, 2011)

One of the highlights of Kōji Yamamura’s Retrospective at Nippon Connection 2014 was the rare opportunity to see his short-short animation Anthology with Cranes (鶴下絵和歌巻/Tsuru shitae waka kan, 2011).  During our Filmmaker’s Talk, I learned that Yamamura did not come up with the concept for this piece.  It was commissioned by a television series in which the producers were looking for artists to make works inspired by famous pieces of art.   Although the initial concept was not his own, Yamamura told us that he enjoyed the project very much.

The inspiration for this film is the celebrated early Edo period (17^th century) scroll painting of the same name, Anthology with Cranes (鶴下絵和歌巻/Tsuru shitae waka kan).  The hand scroll has been designated an Important Cultural Property of Japan ((重要文化財 / Jūyō Bunkazai) and can be found in the Kyoto National Museum.  An online scrollable version of the work with a description can be found on their website Kyohaku.

The scroll is 34 cm tall and 1,356 cm wide and features fine calligraphy by Honami Kōetsu (本阿弥 光悦, 1558-1637), with decorative paintings Tawaraya Sōtatsu (俵屋 宗達, c. early 17^th century, active as a painter 1602-35).  The motif of cranes is painted in silver and gold behind the calligraphy.  The slender forms of these graceful birds are delicately depicted in a variety of poses from standing to flying. 

Order: Isao Takahata's 12th Century Animation

In our chat, Yamamura said that it was not always clear in what direction the birds are moving, so he had to rely upon his own instincts in his interpretation of this experimental work.  Instead of silver and gold paint he has used watercolour.  The camera mimics the gaze of the reader of the scroll by “tracking” slowly from right to left (in the direction in which one would read a scroll in Japanese).  While screening the film, I was reminded of animation director Isao Takahata’s art book 12^th Century Animation (十二世紀のアニメーション―, 1999), in which suggests that ancient scrolls are the ancestors of contemporary manga and anime.    

Yamamura’s interpretation of this elegant scroll is beautiful and entrancing.  The added touch of the natural sounds of cranes and lapping water recall the shallow bays where cranes might be found looking for food.  My only criticism was that the commission called for such a short film, for I could have watched it for many minutes more.

Support this artist by buying his work: Kafka Inaka Isha

HD / 2011 /Japan / 1’55”/ Colour

Direction, Animation and Painting

Koji Yamamura

Inbetweening

Koji Yamamura, Ayaka Nakata, Miki Tanaka

Assistant

Sanae Yamamura

Sound Design

Koji Kasamatsu

Sound Mix

Kenji Saito

Thanks to

Erika Hashiguchi, Chiyoda Raft

Production Company

Yamamura Animation

review by: Catherine Munroe Hotes 2014 

This work screened at Nippon Connection 2014 #nc14 :