Vivinavi

Kazuhiro Soda Film Feature

Kazuhiro Soda Film Special
The Power of Observation

◆Date
November 04, 2024 ～ 23rd

◆Location
Japanisches Kulturinstitut
Universitätsstraße 98
50674 Köln

◆Prices
Admission free

Director Soda was born in Ashikaga City, Tochigi Prefecture in 1970. He studied religion at the University of Tokyo and film at the School ・ of ・ Visual ・ Arts in New York. His method of documentary, which he calls "observational cinema," is based on his Ten Commandments. He has made 11 feature-length documentaries using this method, which have been screened and won awards at film festivals around the world. These films are produced by his wife, Kiyoko Kashiwagi. He is the author of nine books, including Why I Make Documentaries, which has been translated into English, Korean, and Chinese. He has received the Peabody Award as a filmmaker and the Marek ・ Nowitzki Award from the Helsinki Foundation for Human Rights for his work. An overview of his filmography and publications can be viewed on his website ： https://www.kazuhirosoda.com

His latest film, "The Cat in the Palace of Gokagu" （ 2024, Berlin ・ Germany for Hug Film Distribution ） ・ To celebrate the premiere, director Kazuhiro Soda will visit Germany and screen his film in Cologne, Dusseldorf and Berlin. On the occasion of director Kazuhiro Soda's visit to Germany, the Japan Cultural Institute in Cologne will screen three documentaries on the themes of public office （ "Election" 2007 ）, mental illness （ "Spirit" 2008 ） and temporary labor （ "Oyster Factory" 2015 ）. Films will be screened.

"The Ten Commandments of Observational Film"
（ 1 ） No research on subjects or subject matter.
（ 2 ） No meetings with the subject regarding the content of the filming, （ except for the time and place of the meeting ） as a rule.
（ 3 ） No scripts are written. We do not set the theme of the work or the point of the filming before or during the filming. He rolls the camera in a haphazard manner and does not seek harmony with a schedule.
（ 4 ） In order to increase mobility and to respond to situations in a flexible and immediate manner, I generally run the camera and do the recording myself.
（ 5 ） Even if I think it may not be necessary ？ I will run the camera as long as possible in all situations.
（ 6 ） Keep your shooting "narrow and deep" rather than "broad and shallow. Refrain from using alibis to create the illusion of "multi-faceted coverage."
（ 7 ） Even in the editing process, do not set themes in advance.
（ 8 ） As a rule, do not use narration, explanatory tickers, or music. Those devices may interfere with active observation by the audience. They also have the tendency to narrow the range of interpretation of the images, making them monistic and flat.
（ 9 ） To allow the audience to fully observe the images and sounds, the cuts are edited to be long and leave blank spaces. The sense of presence and the flow of time as if you were there are important.
（ 10 ） Basically, we pay for our own production. We do not accept any pimped-out investments, because people are inclined to give their mouths when they give their money. It is possible to receive grants that do not interfere with the content of the work.

See also ： Director Souda's website: https://www.kazuhirosoda.com/jukkai