In the fifteen minutes of Yoko Yuki’s experimental short film “100percentElectrical” the audience will listen to a conversation between the director and Japanese music producer Foodman in a public bath house. While the majority of their conversation covers Yuki’s recent trip to Thailand, the two of them discuss the various differences regarding culture, religion and music. In her statement to the film, Yuki mentions how she was trying to recount the conversation later on and found herself lost within various images and pieces of music which led to the visual design of the short film, using techniques from animation to images overlapping each other and 3D. Given the constant re-definition of the medium film she aims to follow the current trends in the field and experiment with them.

At first glance, the rather maverick design choices of “100percentElectrical” with regards to sound and image may seem too abstract, but the effect on the viewer is quite profound and often surprising. Whereas the child-like animation feels very innocent and naive, especially the overlapping images are an interesting visualization of a person’s memory drifting, similar to the flow of the conversation we listen to while the visuals change in front of us. In many ways, the viewer is invited to take a trip through this memory palace, to observe the various links and interconnection in order to reveal something about the person, but also the individual.

100percentElectrical” is screening at Japan Cuts 2019

Similar to the narrative technique of stream-of-consciousness, the overall structure of “100percentElectrical” mirrors the turns and unforeseen twists of one’s memory. The conversation between Yuki and Foodman discusses Western influences in Eastern traditions, the significance of Buddhism as well as the general change in the Asian landscape due to the impact of globalization. The images mimic the drifting nature of the conversation, illustrating the kind of associations connected to each new topic or concept introduced by the two speakers.

“100percentElectrical” is a short feature about the nature of memory as well as an audiovisual attempt to represent our ways of associating and linking ideas. The playful structure of the film is an open invitation to the audience to go on this journey which will lead to surprising paths and results.

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Ever since I watched Takeshi Kitano's "Hana-Bi" for the first time (and many times after that) I have been a cinephile. While much can be said about the technical aspects of film, coming from a small town in Germany, I cherish the notion of art showing its audience something which one does normally avoid, neglect or is unable to see for many different reasons. Often the stories told in films have helped me understand, discover and connect to something new which is a concept I would like to convey in the way I talk and write about films. Thus, I try to include some info on the background of each film as well as a short analysis (without spoilers, of course), an approach which should reflect the context of a work of art no matter what genre, director or cast. In the end, I hope to pass on my joy of watching film and talking about it.