Yoji, What's Wrong With You?

A woman’s image as a mind-scape, after she had plastic surgery.

The film shows vivid close-ups of a liver with the background music of “My Baby” by Janice Joplin.

This film shows the images of a dancing woman who is wearing Kimono overlapping another image which a naked man is dancing. This is one of the original psychological concepts of C.G. Jung. For women, Animus is an image of a man by projection of her mental energy.

At Any Place 1, 1975, film, 16 min, color. Casted over the sky, images of people are suggested as shapes of clouds

Video began as a medium that inspired discovery. This art documentary traces the expressive roots of “media art” in Japan — works of video, performances, and installations created using video technology that allowed for free and creative visual expression.

In Idemitsu's experiment using a video camera and monitor, the reflexive exercise looking into a mirror is swapped with the monitor, suggesting a reflection on the history of women's relationship with makeup.

What is America to her? Idemitsu, who lived in America for eight years, looks introspectively at herself and her strange connection with America.

Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. Mama can only communicate with her beloved, absent son through the video screen.

A film made using a work of Cindy Sherman, expresses Idemitsu's free and easy sense of humor.

A mindscape in Santa Monica, where Idemitsu lived for 8 years.

One of a series of Idemitsu’s works which deal with housewives buried in everyday life. Idemitsu overlapped a 16 mm work that had Yoneyama Mamako pantomiming in her “Tango of a Hosewife” for the Commemoration of the International Women’s year, 1975. Behind Mamako pantomiming as a housewife, there are clouds, sunsets and bonfires.

Whispering Light, 1985, film, 10:50 min, color In this emblematic personal film, light and shadow of plants is successfully constructed over the subjective gaze of the narrator who is working through her mother’s death.

Kiyoko's Situation articulates the deeply embedded cultural roles of Japanese women through the parallel stories of two female artists, Kiyoko and Tani. In Idemitsu's narrative-within-a-narrative, "Kiyoko's situation" is played out on a television monitor within Tani's drama. Tani is paralyzed in her attempts to paint by her feeling that, as a single woman, she has failed in society's eyes. Kiyoko, a young mother viciously criticized by her husband and family for her fierce determination to paint, eventually compromises her art for "maternal duty." As Kiyoko complies with the family, Tani, isolated and despairing, is driven to suicide. Idemitsu's chillingly omniscient television monitor, which acts as the psychological "other," metaphorically and literally condemns Tani to death. In the final cruel irony, she hangs herself, using the television monitor as a jumping-off point.

A plan of a house that is reminiscent of a miniature garden used as a psychological treatment to assist in self-confirmation at a middle-class housewive’s tea party.

In Kae, Act Like A Girl, Idemitsu continues her experimental narrative exploration of women's roles in contemporary Japan with a tale of women's liberationist awakening. Here she presents a young female artist's conflict with the traditional, patriarchal expectations of women in Japanese culture, in which men are privileged and women are groomed to be wives and mothers. Within Idemitsu's narrative, video screens and images represent the protagonist's inner struggle — memories, conscience, familial pressure — as she subordinates and then ultimately achieves her personal and artistic desires.

One man's life is expressed in a form of a mime with a factories' chimneys are placed as its backdrop.