にじ (1988)
Takuji Suzuki began making films with a camera pointed at his own face. Whether in a room, in a classroom, or on a journey through the wild, the artist's face speaks to the camera. And then there is the interaction with his "uncle" who plays the violin like a saw. This is the endpoint of the unique act of the artist, who keeps turning the film to discover his identity. No one else can give you this taste.
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Takuji Suzuki began making films with a camera pointed at his own face. Whether in a room, in a classroom, or on a journey through the wild, the artist's face speaks to the camera. And then there is the interaction with his "uncle" who plays the violin like a saw. This is the endpoint of the unique act of the artist, who keeps turning the film to discover his identity. No one else can give you this taste.