Japan202170 minJapanese with English subtitlesComedy, Sci-fi
Cafe owner Kato closes up shop on an ordinary night only to be interrupted by a voice from the TV: his own voice, two minutes in the future. As Kato investigates the strange occurrence, the night and time itself start to unravel. Kato’s friends and colleagues get enveloped into his time warp, and the results are hilarious, calamitous and existential.
A lean, DIY sci-fi written and performed by members of the Kyoto-based Europe Kikaku theatre group, the film uses its talents, resources, and smarts to their fullest potential, with long takes, simple locations, and finely tuned performances. But this is no modest project. It is equal parts an ambitious, mind-bending, and joyous ride of twists and turns through the (very near) future.
-Aram Siu Wai Collier
Kazunari Tosa
Riko Fujitani
Gota Ishid
OFFICIAL SELECTION
Bucheon International Fantastic Film Festival, 2021
Fantasia Film Festival, 2021
Sitges Film Festival, 2021
Junta Yamaguchi
Born in 1987 in Osaka, Junta Yamaguchi joined Europe Kikaku in 2005. He has worked as a director for short films, dramas, commercials, and documentaries. Beyond the Infinite Two Minutes is his first feature film.
10 Nov, 2021
to 19 Nov, 2021
PG
This presentation has English subtitles.
On the pastoral North Shore of Oahu, Hawaii, the end is near for Masao, an ill and elderly man with regrets to spare. As he looks back, his family history, dreams, and mythology swirl around him as ghosts he carries with him in his final days.
Aman, a young aspiring writer, moved to Kuala Lumpur to follow his dreams, but all he has is his late father’s old car and nowhere to live. To make ends meet, he uses his room on wheels to illegally earn money through a driving-service app. This is how he meets Bella, a student from Penang.
Damascus Dreams is a reflexive documentary essay presented in a series of sections framed by voiceovers of Serri and her father. The film explores and interrogates the fraught notions of dreams, and memories of “home,” moving loosely through old video footage of the family home in Syria, interviews with Syrians who had to leave or flee because of the civil war, conversations between Serri and her father, and poetic, dreamlike sequences.
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