｜Length : 44min. ｜Year : 1992 ｜

Higashi-Osaka City is full of small factories known as "garage factories." As subcontractors, such factories have played a major role in supporting Japanese industries which have established global confidence. However, they are now disappearing, without anybody praising their efforts in the past. While depicting the thoughts and feelings of the factory owners, this program asks what it means to make things in modern Japan, which has lost much humanity amid its prosperity.

｜Length : 59min ｜Year : 2022 ｜

The prestigious entertainment quarter of Gion in Kyoto is the largest in Japan. As an area priding itself on traditional hospitality, Gion was hit hard by the COVID-19 pandemic. Several geiko and maiko lost their places of work, and without any opportunity to pass down traditional ways to the new generation, the art itself seemed in danger.
The revival of the Miyako Odori, a large-scale dance performance to be performed for the first time in three years, is their only hope. We join some young maiko who fell in love with this wondrous district and life in Gion as they attempt to overcome adversity. We bring you rare footage from inside the okiya where they live and train; a side of life normally unseen by outsiders. Young maiko work hard to realize their dreams in the sometimes strict, sometimes kind world of Gion.

｜Length : 49min ｜Year : 2022 ｜

"What should be cherished? What should be passed on?" After the Fukushima nuclear accident, Matsumura Naoto stayed put in his hometown of Tomioka to look after abandoned animals. A decade later, Matsumura is now battling to revive a rice field in a decontaminated wasteland. As once-treasured farmland is lost to various new forms of development, Matsumura's solitary struggle to carve out a different path to the community's future casts the theme of post-disaster reconstruction in a new light.

｜Length : 54min ｜Year : 2022 ｜

This stage is set on an island called Shikoku. There was once a municipal aquarium in a small town on this island. It was built 87 years ago, and it was the very first aquarium in Shikoku. After that municipal aquarium closed, the townspeople wished to revive it once more and that’s how the Naga High Aquarium was born. It’s an aquarium inside a school. Ehime Prefecture Nagahama High School. They have the nation’s only Aquarium club, and there are 2,000 sea creatures of 150 kinds inside the school building.

The club members feed the fish every day, cleans the tanks, and give their all to care for them. Those sea creatures can be seen at the public viewing every third Saturday of the month, and many people visit the school on that day. A popular event during the public viewing is “Tommy’s Yellowtail Show”. High school students became yellowtail trainers, and they trained yellowtails to create what may be the world’s first yellowtail show. The show puts a smile on everyone’s faces. It creates a moment of happiness.

We began recording footage at Naga High Aquarium ever since the public viewing started in 1999. Among them is a segment covering six years of the yellowtail show, starting when the founder “Tommy” first entered the school. In 2018, western Japan suffered from a disaster caused by torrential rainfall. The school closed, and many fish died. In addition to that, Nagahama High School is not a preparatory school, and it’s not very easy to access, so they have to deal with declining student admissions. The school may have to close for good if there are not enough new students coming in. The club members shoulder the dreams of the townspeople and older students who left the club in their care, as they overcome crises and work hard every day. Together with all the sea creatures.

｜Length : 52min ｜Year : 2022 ｜

“Kizunae” are drawings that depict people who have passed away in scenes from their future as if they were still living. Thirty-seven-year-old artist Jun Omura from Aichi Prefecture is a former caricaturist who now creates such kizunae artwork. This documentary follows Mr. Omura for two years as he meets with his clients, who are surviving family members of the deceased, and draws kizunae for them. The artwork introduced includes “a young boy whose dreams were realized,” “a sister who grew up to carry a baby,” “a wedding that never took place,” and even one of “Jun Omura’s family.”

Mr. Omura must overcome the daily anxiety that comes with bridging the gap between the “remnants” of the deceased and the “ideal image” requested by his clients. We have documented the kizunae art that he creates and the states of mind of the surviving families.