Cinema of Stuffing

Shot with handmade batteries connected to old-fashioned filming equipment at a time when digital technology had become mainstream and film-based filmmaking was no longer easy, the film contains quaint special effects reminiscent of Georges Méliès’ films from the early days of cinema history. Hayama interprets cinema as a “stuffing of time (specimen of time)” explored the story (contents) and its limited surface skin (film), which grows bloated and unaccommodating as time goes by. This work opens with a shot of water flowing ominously among pebbles at a water’s edge where silver grass grows thick. Suddenly, a character (played by Hayama herself) appears, picks up a package in the center of the puddle, and begins to open it. She finds another package inside and opens it again. Then there is another package inside again. The package is opened again and again, but each time it is opened, it somehow gets bigger, and soon it is bigger than a human being. The soundtrack is composed by Japanese onomatopoeia.