Experiencing Interruptions?

gate

One day, the two man and woman meet again. The two walk down a path of memories. Even though they sometimes clash, and try to enjoy the moment. But parting was drawing nearer by the minute. Time goes by cruelly.

  • Nobuyuki Morikawa
    Director
  • Nobuyuki Morikawa
    Writer
  • Shion Sasaki
    Key Cast
  • Yuune Nakatsuka
    Key Cast
  • Nobuyuki Morikawa
    Cinematographer
  • Fukuko Tokuda
    Production manager
  • Maria Mitsuoka
    English translator
  • Kiyomi Fujita
    Music
  • Nobuyuki Morikawa
    Music
  • Nobuyuki Morikawa
    Producer
  • Project Type:
    Experimental, Short
  • Runtime:
    18 minutes 19 seconds
  • Completion Date:
    March 27, 2022
  • Production Budget:
    150,000 JPY
  • Country of Origin:
    Japan
  • Country of Filming:
    Japan
  • Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Black & White
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
  • SCREEN POWER FILM FESTIVAL

    Best first-time filmmaker nominate
Director Biography - Nobuyuki Morikawa

"barren" (2023) sixth directed
"birthday" (2023) fifth directed
"Lightning rod" (2023) fourth directed
"Cross" (2022) third directed/unpublished
"Living." (2022) second directed
"gate" (2022) First directed

Add Director Biography
Director Statement

Thank you very much for reading.

about "gate" (first directed)

First, I shared with actors. This film is a very simple story of the reunion and separation of a man and a woman. And I told them in advance the starting point (i.e. reunion) and the goal point (i.e. farewell) of the shoot. Based on the above conventions, the shooting was improvised.

A man and a woman just walking on the road. And reunion and separation of fictional. I wanted to prove that it is possible to make a cinema with such a simple plot. Rather, it is because I believe that a very simple plot is necessary for telling a story through images.

My most important philosophical foundation in the production of this film and in subsequent filmmaking is my personal view that images are already eloquent. Too eloquent, I should say. In that case, what I can do as a filmmaker is nothing but admiration or submission to the excellence of the film itself. This is because I decided to listen carefully and listen carefully to the image, which would say a lot without doing anything, instead of trying to imitate it and try to say a lot. What can people do against the excellence of the image itself? Wasn't that an issue from the moment the movie was invented? I pledge my eternal love to film history. And I have a deep respect for the history of cinema. So what can movies do? I want to keep asking myself what I can do.