Keita Kurosaka

Countless dwarves appeared from the omelet that the skinhead man tried to eat. They infiltrate the man's brain and finally explode his head. Short animation by Keita Kurosaka for MTV Japan.

An animated film based on one of the renku (collaborative linked poems) in the 1684 collection of the same name by the 17th-century Japanese poet Bashō. The creation of the film followed the traditional collaborative nature of the source material – the visuals for each of the 36 stanzas were independently created by 35 different animators. As well as many Japanese animators, Kawamoto assembled leading names in animation from across the world. Each animator was asked to contribute at least 30 seconds to illustrate their stanza, and most of the sequences are under a minute (Yuriy Norshteyn's, though, is nearly two minutes long).

In a certain fishing village, a memorial service is held to burn abandoned boats, and old fishing boats that have finished their duty have a dream on the verge of death. Deep-sea fish galloping through the alleys, fishermen pulling long ropes, ghosts of screaming girls...

The story begins with a parody of a familiar folklore about a rabbit and an earthworm chasing after each other, but the warm atmosphere changes completely to a succession of surreal images, and the story dismantles.

Haruko, a girl with psychic powers who can communicate with inorganic matter, wakes up one morning to the call of someone, and as she is invited, she arrives at an abandoned apartment building from the 30s of the Showa era, where countless "mononoke" have lived.

One morning, Papa transforms into a giant insect in the futon, emerges instantly in front of the astonished family, breaks through the window and flies into the sky. Short animation by Keita Kurosaka for MTV Japan.

A woman strives to engineer a dream-food that can put a stop to the famine that has lain waste to a dystopian, near future Tokyo.

One might think that beautiful pictures, a compelling story, and brilliant movement are the three essential elements of a good animated film. The word "anima" from which animation is derived, as we all know, means "to breathe life into". And "life" means "limited time" and that there could be an approach that does not include any of the aforementioned "three elements". The result of several years of exploring new methods was an "animated film" that eschews the so-called "animated" structure. This film aims to visualize "shifting consciousness" through a method of filming in which approximately 5,000 pencil drawings are constantly overlapped"