One week in the extraordinary-ordinary life of Mr. MORIYAMA, a Japanese art, architecture and music enlighted amateur who lives in one of the most famous works of contemporary Japanese architecture, the Moriyama house, built in Tokyo in 2005 by Pritzker-prize winner NISHIZAWA Ryue(SANAA). From noise music to experimental movies, the film let us enter into the ramification of the Mr. MORIYAMAmins free spirit. Moriyama-San, the first film about noise music, acrobatic reading, silent movies, fireworks, and Japanese architecture!
Ila BÊKA / Louise LEMOINE
Artists, filmmakers, producers and publishers, Ila BÊKA and Louise LEMOINE have been working together for the past 10 years mainly focusing on experimenting new narrative and cinematographic forms in relation to contemporary architecture. The complete work of Bêka & Lemoine has been acquired in 2016 by the Museum of Modern Art in New York for its permanent collection. Their films have been widely shown in some of the most prestigious international cultural institutions and events such as the Venice Architecture Biennale, Centre Pompidou, Barbican Centre, CCA and Fondazione Prada.
This documentary is about spending a week with an extraordinary Japanese man named Mr. Moriyama. He is an amateur art lover who has a profound knowledge of Japanese art, architecture, music, and film. His house was designed by the worldrenowned architect, NISHIZAWA Ryue. Living in a modern cube, he is fully immersed in music and books from OTOMO Yoshihide and IKEDA Ryoji. When the director talked with him about Japanese noise music, he discovered that Mr. Moriyama possessed the entire collection of composer OTOMO's music, who is considered a leading figure in Japanese noise music. In the end, the director decided to film Mr. Moriyama for seven days. The film is shot in an impromptu way, much like OTOMO's impromptu music. The house clearly shows the owner's personality. In the white house, all boundaries between space and nature are naturally broken down. While the film shows a series of hidden spaces, it seems that space demolishes itself and moves into nature, evoking a sense of expansion. This doesn't seem to be planned out but rather, unfolds naturally. The film uses the strategy of defamiliarization by putting daily objects in a nondaily context. As a result, viewers can attain a sense of foreignness in the middle of familiarity. The film also has a very interesting ending which connects the modern artistic experience with 'wabisabi', a traditional Japanese aesthetic. (MAENG Soojin)