Glossary of an Empty Orchestra (2024)

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The boundaries between reality, memories and dreams are temporarily dissolved in order to parallel the film-maker’s internal sense of liminality as a ‘hāfu’ (half-Japanese, half-Australian). Drawing on Japanese folklore, memories of the past, and contemporary anxieties, the narrator journeys across her father’s hometown of Sōma, Fukushima, in search of a language that can temporarily capture such liminal entities, including herself.

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Mika Ogai