Takashi Ito

Grim

Takashi Ito

Hiroko Emori

"With this work, I developed/fleshed out the idea I had when making GHOST of peeling only the skin from various objects in the room, floating the skins in midair and then sticking them on different objects. This film was also shot entirely frame-by-frame with long-exposures. Along with GRIM, its meaning is 'as if to do forever.'" - Takashi Ito

Spacy

Takashi Ito

"His films are like a roller-coaster. His way of throwing the act of seeing into utter confusion is an attack on the eyes in their corporeal function, and to attack the eyes is to take on tile body itself as your opponent. The film makes you break out in sweat only by shooting a safe, peaceful gymnasium in the dark." - Koharu Kisaragi

Ghost

Takashi Ito

Haunting light and haunted spaces, otherworldly movement and abstracted time. A ghost visits an apartment complex.

Thunder

Takashi Ito

Seiko Nakano

A woman’s face disappearing behind, and emerging from, a pair of hands. Flashing lights. An empty building full of dark hallways. Designs drawn in the air with light and long-exposure cinematography.

Zone

Takashi Ito

This is a film about a man without a face. His arms and legs, bound with ropes, the disabled man is still without even a shudder in a white room. A series of unusual scenes in this room expresses what lies between memories, nightmares, and violent images.

The Moon

Takashi Ito

"A long time ago, I would often dream of the uncanny and mystical landscape that appears in moonlight. Irrational landscapes and spaces filled with unspeakable pleasures like a black object that revolves slowly while flying over the scattered clouds that float in the night sky, their lumps illuminated by the light of the moon." - Takashi Ito

めまい

Takashi Ito

Minori Takenaka, Megumi Kubo

In the final scene of my last work, A SILENT DAY, a girl was filming herself with an 8mm camera on a railway bridge. Although the film doesn’t depict the incident, she later jumped off the bridge in an attempt to kill herself. Two girls witnessed her attempted suicide, and in this film I am attempting to depict the broken state of their psyches. In this piece, various images have been generated as a result of my professional interaction with a number of young people with mental illnesses, and the unstable state of mind which I have often experienced in recent days - Takashi Ito

Box

Takashi Ito

"I stuck landscape photographs on the faces of a cube and shot them frame-by-frame. It looks like the box is forever revolving, but in truth it only revolves 90 degrees. The trick to this sensation is fundamentally the same as the one used in SPACY. I was aiming at disturbing our awareness of space in the movement from the three-dimensional to a plane and back again." Takashi Ito

悪魔の回路図

Takashi Ito

A film in which the one 60-story skyscraper that soars in the spaces between roofs spins with incredible speed. I centered the circumference with its 400 or 500 meter radius on the skyscraper and divided it into 48 sections, then took photographs from those spots and shot the photographs frame by frame.

静かな一日

Takashi Ito

Marika Abe

A depiction of a girl’s uneasy state of mind as it wavers between life and death.

ミイラの夢

Takashi Ito

The filmic version of a city in which all surface beauty has rotted away. In order to find images of death like landscapes of the city from which people have vanished, and buildings from which the decorations have been stripped away and the inner organs exposed, I walked all over Tokyo taking photographs, then animated them. (T.I.)

ドリル

Takashi Ito

"The filming of the entrance to the company dormitory in which the film-maker was living. Centering the film on one pillar, he warps the spaces to the left and right and creates an unstable space similar to painting that employs anamorphosis. Made as were SPACY and BOX with a large number of photographs, the film ends with a violent movement, but is poetic for this." - Takashi Nakajima

Wall

Takashi Ito

"The further developed and completed version of a 15-second advertisement for an interior design firm on which I had worked. It repeats over and over again the violent back-and-forth, half-revolving motions of a giant brick storehouse inside the frame of a hand-held photograph. I wanted to emphasis the flat nature of the photograph while creating a dynamic feeling of depth inside the photograph's frame." - Takashi Ito

写真記 '87

Takashi Ito

I turned my gaze to the various events in daily life and made this filmic diary in a manner as if confessing my feelings. Of course, since I was making the film, I wanted to depict these feelings and events with tricky techniques. I used various methods to shoot photographs of a relative's wedding, the landscape I see from window of my house, commemorative travel photographs and the like frame-by-frame.

ビーナス

Takashi Ito

"In the early afternoon, a mother holding her child stands still in the park of a housing project. The kind of sight that is a symbol of beauty and love. Be as that may be, they have no face. The camera is aimed persistently at the spot from which they have vanished as if to find something. A work that began out of the search to understand the relation between the family and the self." - Takashi Ito

モノクローム・ヘッド

Takashi Ito

Marika Abe, Kazunari Kodama

Without warning, the image of a girl wildly waving a baseball bat that slices through the air leaps to my mind. Such speed also reminds me of the rhythm of the filmmaker's previous works. Or is it a symbol of teenage madness? A ceremony to summon some creature from a legend? -Takashi Nakajima