24 November 2016 ● 1 min read ● 0 images

+And here is my short film Circuital. Laundry was used a lot as a metaphoric device for life cycles in Japanese literature and film (Shimizu’s 1941 film Ornamental Hairpin best did it) and I touched on them in my first two films Vein (before the character kills himself) and Heart (right when he decided to forget his ex-girlfriend and move on). I took it further here where it all takes place in the course of a laundry cycle. This is supported by all the cuts whose compositions form a big circle starting at 12 o’clock in front of the laundry matt to 6 o’clock at the restaurant and back to 12 in front of the laundry matt again only to stare at the cycle of a washing machine as if reflecting before the laundry is done, symbolically concluding the film. I wanted to show his inaction through the phone call showing his relationship trouble and the restaurant scene where he is just on his phone the whole time and notices the girls talking about him, but does nothing…only to go outside smoke and argue with his baby’s mother again before dejectedly walking back. For the aesthetics, I was going to do what I would consider my style: high composition shots where I arrange every element as I would my ikebana, no camera movement, and in black and white…but watching the Romanian New Wave films, I came to love their aesthetic of loose compositions, everything being handheld, de-saturated color, no sound/title credits, natural dialogue, and scenes of extreme nothingness in everyday life…and felt that this would better express my story of the banality of such a cycle.

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About Jesse

Jesse Freeman

I'm an artist in Tokyo, Japan

nothing in particular...bit of everything.

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