Yuji Katsui

Yuji Katsui

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EXIT-B9 1990

A Film by Hideaki Sasaki
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KICKS 1991

A Film by Hideaki Sasaki
Yuji Katsui

Yuji Katsui

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The Blood of Rebirth 2009 (5.9)

Based on the Japanese legend of 15th century adventurer, Oguri Hangan Daisukeshige, Toyoda places us in a surreal world of tattooed Japanese slave workers whose real life roles serve more as symbols than actual characters. After being hired by a local despot, Daizen, to massage away a nasty venereal disease, Oguri is viley betrayed after refusing to stay longer.
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Boy Soldiers: The Secret War In Okinawa 2018 (10)

The greatest taboo of the Battle of Okinawa were Guerrilla units composed of boy soldiers. Until now, not even the Japanese people knew the full scope of these secret troops, and survivors have been afraid to share their tragic details. Okinawa became the bulwark to protect the Japanese mainland toward the end of World War II. After the Americans landed, a violent battle ensued resulting in the loss of over 200,000 lives – many of them civilian. This documentary uncovers Japan’s deepest secrets concerning the Battle of Okinawa, and also sounds alarms about modern Japan’s recent steps toward remilitarization.
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Memories of the Seaside 1982 (5)

It consists of two repeated images: a scene of cutting the back of a hand with a utility knife and blood oozing out, and another one of a man being slaughtered at the beach.
Yuji Katsui

Yuji Katsui

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Most Known for...

Yuji Katsui

Yuji Katsui

N/A

N/A

Most Known for...

Movie Picture

Chill point out period 1984

So, what exactly were we doing with this work? To put it simply, we tried to see if we could do something similar to musical improvisation in film.In musical improvisation, some performers play instruments, others voice, and sometimes even dancers join in, creating a unique expression through the collaboration of these expressive acts, which could be described as a kind of friendly competition on the spot.In film, there was a "convention" to construct a work based on a "blueprint" called a concept, whether it was a scenario for a commercial film or an experimental film.This film is an attempt to break away from that style, and together with the staff and actors with whom I have worked on several other films, I explored a free jazz-like approach to making a film through a session.I didn't want to keep shooting indefinitely, so I decided to shoot from March 1st to March 10th, 1984.