June 07, 2006

National Program B attracted a large crowd at Astro Hall on this first day of Short Shorts. The eclectic mix of entertaining shorts opened with last year’s Super Dry Award film, “Shirotaku,” and closed with the new film that the winning filmmaker made using the scholarship prize, “Tokyo Tenshi.” Jam-packed with special effects and futuristic references, the film is nevertheless about the human heart.

By their titles alone, you might guess that several films have a distinct Japanese flavor: Tokyo Tenshi, Sushi Japan, and Origami. Aussie Mack Wilson’s very personal “Tabibanashi” is a love poem for Japan. There are also films with international elements in the program, including “Happiness,” which was shot in Malaysia and tells a sweet story about a young brother and sister from a small village there and “Resonance of Tears,” which was shot in France and features a French actor.

Several filmmakers participated in Q&A after the screening. “Tokyo Tenshi” director Toshiro Sonoda talked about is motivation for making the film. Tokyo can be a cold, anonymous city, he explained, and he wanted to tell a story about love and relationships surmounting that sense of loneliness and isolation the city can evoke.

National Program C screened to a full crowd at Astro Hall this afternoon. Three dark, haunting pieces (Pomegranate, Murmurs of the Shadow, and Tomb in the Arms) transported the audience away from the bright liveliness of the Harajuku afternoon. The animated film “Seeker” and the action film “Kick-the-Can” lightened things up, and the special screening of Australian short film “Tanaka” provided a bittersweet but heartwarming finale to the program.

All of the Japanese directors were present to answer questions after the screening. Since three of the films (Pomegranate, Seeker, and Kick-the-Can) had been made in the United States, filmmakers talked about how working in the U.S. has influenced their filmmaking. “Pomegranate” director Kentaro Hagiwara explained that even in Japan he grew up watching American television, so his work probably reflects some American style. On the other hand, “Kick-the-Can” director Mitsuaki Fujiwara said that his Japanese aesthetic is even more pronounced as a result of working abroad.

An audience member asked how people can see other work directed by these filmmakers. Director Jyako Amano, whose film “Tomb in the Arms” deals with one society’s most disturbing taboos, said that she would worry that her other films would be too extreme for audiences.

A brief morning rain shower gave way to a brilliant sun-soaked Tokyo day―perfect for a stroll from Harajuku Station to the Meiji Shrine.

International filmmakers posed for photos in front of the barrels of sake on the way to the shrine, cleansed their hands at the main entrance, and tossed 5 yen coins in the alters to ensure their prayers would be answered.
Some even wrote their own votive prayers on small wooden plaques to hang on the pegs where visitors from around the world have left their own words of hope and thanks.

Inside the Shrine, filmmakers were treated to a special Shinto blessing. The ceremony began with a heart-thumping drum. A priest chanted a prayer to bless the Short Shorts Film Festival and wish success for the filmmakers. Priests wearing spring green played traditional music, opening with the Japanese national anthem. A koto (string instrument), flutes, and drum created a soothing atmosphere as four Miko-san (women priests) performed a dance for world peace called Uraiyasu-no-mai In this intricately choreographed dance every movement of their bodies was carefully synchronized. The blessing closed with the same heart-pounding drum and filmmakers were invited to drink a sip of cleansing sake.

It was an experience no one will soon forget! Singaporean filmmaker Ric Aw (Buy Me Love) and his wife Candice found it to be quite spiritual. “At certain moments, I felt totally at ease,” said Ric. Candice agreed. “At times I felt like I wasn’t even there, especially while the priest was chanting.” Per Hanefjord (En god dag) from Sweden described it as “a goose bump experience,” and was particularly impressed by how intensely Japanese it seemed―the sounds, the colors, the movement. Special guest Miguel Ortega (Director of SSFF Mexico) was also excited to experience such traditional Japanese culture, which he had not expected to find in a city as high tech and modern as Tokyo.

Blessed and cleansed, the filmmakers made their way under blue skies and green trees back to the main gate and down Omotesando to the festival venues at Laforet and Astro Hall. Let the screenings begin!