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DOTMOV FESTIVAL 2009

HAPPENING

DOTMOV is a digital film festival organized by online magazine “SHIFT”, aiming to discover unknown talented creators and provide an opportunity to show their works. We had a total of 264 works from 30 countries this year, and an excellent 19 works among them were selected by guest judges. All the selected works are also presenteded on the website.
This year’s festival will take place in several cities in Japan and oversea during the whole month of November, 2009.
Some venues will show selected works of the Magical Movie Competition.

DOTMOV FESTIVAL 2009

SCHEDULE

11/01 – 11/31__Tokyo, TOKYO CULTUART by BEAMS
10/31 – 11/29__Yokohama, CREAM – The Festival of Arts and Media Yokohama *1
11/05 – 11/23__Osaka, digmeout ART&DINER
11/02 – 11/14__Kobe, Kobe Design University (KOBE Biennale 2009 *2)
11/16 – 11/30__Kyoto, Cafe Independants *3
11/10 – 11/11__Fukuoka, Konya 2023
11/24 – 02/28__Fukuoka, FFAC Artlier
11/27 – 11/28__Beppu, Private Theater FOG
12/01 – 12/13__Kyoto, Dojidai Eizo Studio 1928
12/05 – 12/20__Nagota, Golden Child Cafe
12/19 – 12/23__Sendai, Sendai Mediatheque *4
01/16 – 02/27__Sapporo, CIA02
01/15 – 02/13__Shizuoka, CCC
03/21 – 03/21__Aichi, TAFF10
11/12, 11/14__ Belo Horizonte, Arte.mov 2009
05/01 – 05/09__Kuala Lumpur, KLDW 2010

*1 Will be screened at Shinko-pier. For a detaild schedule, visit their official website.
*2 Will be screened at the library in Kobe Design University.
*3 The collabration event “Do it JAZZ! presents “temporary room” meets DOTMOV” will be held on November 17 at 19:00. Free admission.
*4 Will be screened during the event “smt Open Cafe Hikari no Hiroba” at the open square. Free admission.

 
SCREENING PROGRAM　


  • Hibi no Neiro
    3’51” | 2009 | USA
    Dir: Magico Nakamura, Masayoshi Nakamura, Masashi Kawamura, Hal Kirkland
    Music: SOUR
  • Considering Hibi no Neiro has been viewed one and a half million times on YouTube (October 2009) I doubt anyone at DOTMOV is seeing it for the first time. That said, I distinctly remember the first time I saw the clip after the classic “Have you seen this yet?”
    The piece plays with the virtual reality of being connected without using any of the typical cliches, creating a kind of video stop-action that works within individual panels, or together between many panels, as a whole.
    The playful manner in which the different panels interact with each other makes it easy to watch again and again. Each time, I notice something different in the action from a different panel. Lovely..
    The best thing about it: It looks so simple. (The choreography must have been a total nightmare!)
    Selected and commented by David Linderman
    　
    I originally saw this clip, as a viral, in the context of being a promo for the music. Everyone raved about it but I felt, and still feel, it is too much about the craft and ingenuity of the visual to really connect with the sound. But now I’m asked to look at it first as a short film, I can admit that I think it’s amazing… significantly more creative, inventive, ingenious than the music. The narrative, the craft, and the use (and deconstruction) of the medium are refreshing, as is the relaxed and natural ease with which the idea appears to be executed. It is smart, enjoyable and inclusive… and very addictively watchable.
    Selected and commented by Ian Anderson (TDR)


  • Freestyle Fu
    6’20” | 2009 | Japan
    Dir: Kai Fujimoto
    Music: Kochitola Haguretic Emcee’s feat. Kyo Sakurai
  • My 95-year-old grandfather gets grumpy whenever he sees pop music programs on TV. He says he extremely dislikes young musicians, who are hyped up singing and dancing. He says one should sing standing upright with a might inside. He also says the current music scene in Japan is unbelievably frivolous and embarrassing.
    I’m completely out of touch with the hip hop scene in Japan. The only hip hop musician I know is HIFANA and ECD and only I can sing the tune is Konya Wa Boogie Back. But I am honestly surprised by those few people who occasionally appears in the scene, using the superb way of weaving words that could be competed with the avant guard of the modern literature, and am strongly attracted to the restless mood that certain artists clad in, which I cannot find among other J-POP artists.
    Even so, I still feel odd with their typical behaviors – the look one is like holding something big sphere in front of one’s chest. I even feel depressed by their honest expression of aspiration to Gaijin (in this case, black musicians), as it might be originated in a kind of DNA which has penetrated deep into our bodies regardless of age. The hip hop style in Japan is an excessively perfect form simulating the Western, but it’s also a quite painful expression in terms of the market set up for Japan only for sure. The English-speaking audience would be excited in some way as they listen to Japanese Hip Hop, that is a kind of ease they reaffirm their own position of advantage, as it is similar to the way we feel for K-POP.
    Ok, I finally get into Freestyle Fu. After giving a speach on these negative elements, what I feel about this piece is that quality could happen to transcend the style easily. Kochitola Haguretic Emceez is perhaps a stunning hip hop artist. I will not mention here what’s interesting about their lyrics and music, which you can tell viewing the piece. I can understand the lyric and its nuance well since I am Japanese.
    This piece has well achieved the expected goal in terms of conveying the fascination of the artist more than enough. “Good pictures” have been taken. To take good pictures is the only purpose of this piece. The simple piece directed by Kai Fujimoto reaffirm us its fundamental attraction of film work. The piece shows the dynamic core part of itself pruning roughly away techiniques, effects, choreography and gimmick. Popping lyrics shows an advantage of its use in the film. The paint style rendering which was traced from the live-action film looks actually more live. All these are the attraction of the subject. The filmmaker didn’t make this piece just using a computer and softwares and just on the safe and comfortable desktop.
    Selected and commented by Jiro Ohashi


  • Hole In One
    7’33” | 2004 | Germany
    Dir: Verena Friedrich
  • It’s visually simple and very effective. The idea is totally unexpected and made me smile. I found myself watching and thinking what would happen in the next sequence. great work!
    Selected and commented by Yoshi Sodeoka (c505)


  • Surface
    3’10” | 2009 | USA
    Dir: Varathit Uthaisri (TU)
    Sound: Napat Snidvongs (Plum)
  • Being eloquent in experimental intention, Varathit Uthaisri’s ‘Surface’ is the work that is conspicuous of bold experimental spirits and renewed a familiar act to a new point of view by the fresh sense. Our world, looking at the bottom of the opaque city, frankly shows the reality that a number of footprints and human behavior are going on. At the same time, it makes us having an unrealistic visual experience that we feel similar but different from the world of our traditional view. As his intention ‘Urban symphony’ defined by the director, short fast scenes and long slow scenes are rhythmically composed and visual pleasure mixes with auditory pleasure, which this synesthetic effect leads us to the climax of Urban symphony. All of the familiar happenings on the surface and human behaviors happening in the city give new pleasure and visual fantasy, this work is not short to capture our attention at once. However, I felt something lacking because only the scene, a person was killed in a traffic accident, was a trite ending.
    Selected and commented by Ki Young Park (Sugarcube)
    　
    I was taken by “Surface” because of its clever weaving of a symphony of everyday stories. The piece is elegantly choreographed and, in spite of some compositing flaws, the subtle but effective stylistic treatment succeeds at enhancing the connection with the viewer.
    Selected and commented by Jesus de Francisco (Motion Theory)
     

  • Kanojyo no kinoko ha boku ga taberuno
    3’20” | 2009 | Japan
    Dir: Yasushi Hori

  • Yonder
    3’29” | 2009 | Germany
    Dir: Emilia Forstreuter
    Sound: Sam Spreckley

  • Miss Bloodberry
    20’00” | 2009 | Japan
    Dir: Toru Miyagi

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