North Shinjuku 2055

An overly curious journalist sits face to face with a resident of the mysterious district of North Shinjuku. One is trying to understand the codes and unspoken truths of a closed community; the other gradually reveals his world. Daisuke Miyazaki (Yamato (California), Tourism, Videophobia) delivers an unorthodox, futuristic sci-fi full of recursive effects and false appearances. Shot in lustrous black and white, featuring a series of still images, this impossible dialogue is like a response from the future to Chris Marker’s La Jetée. Harrowing yet leavened by humour, the story includes street kids, ancestral pariahs and, as you’d expect, yakuzas An overly curious journalist sits face to face with a resident of the mysterious district of North Shinjuku. One is trying to understand the codes and unspoken truths of a closed community; the other gradually reveals his world. Daisuke Miyazaki (Yamato (California), Tourism, Videophobia) delivers an unorthodox, futuristic sci-fi full of recursive effects and false appearances. Shot in lustrous black and white, featuring a series of still images, this impossible dialogue is like a response from the future to Chris Marker’s La Jetée. Harrowing yet leavened by humour, the story includes street kids, ancestral pariahs and, as you’d expect, yakuzas An overly curious journalist sits face to face with a resident of the mysterious district of North Shinjuku. One is trying to understand the codes and unspoken truths of a closed community; the other gradually reveals his world. Daisuke Miyazaki (Yamato (California), Tourism, Videophobia) delivers an unorthodox, futuristic sci-fi full of recursive effects and false appearances. Shot in lustrous black and white, featuring a series of still images, this impossible dialogue is like a response from the future to Chris Marker’s La Jetée. Harrowing yet leavened by humour, the story includes street kids, ancestral pariahs and, as you’d expect, yakuzas An overly curious journalist sits face to face with a resident of the mysterious district of North Shinjuku. One is trying to understand the codes and unspoken truths of a closed community; the other gradually reveals his world. Daisuke Miyazaki (Yamato (California), Tourism, Videophobia) delivers an unorthodox, futuristic sci-fi full of recursive effects and false appearances. Shot in lustrous black and white, featuring a series of still images, this impossible dialogue is like a response from the future to Chris Marker’s La Jetée. Harrowing yet leavened by humour, the story includes street kids, ancestral pariahs and, as you’d expect, yakuzas