Out of Focus

Tokyo schoolgirl Hiromi and her friends engage in a practice known as enjo kosai, or "compensated dating", where older men pay young girls for dates. Hiromi plunges deeper into this world to raise money for an expensive ring.

Nick Condon, an American journalist in 20s Tokyo, publishes the Japanese master plan for world domination. Reaction from the understandably upset Japanese provides the action, but this is overshadowed by the propaganda of the time.

Marion and Jack try to rekindle their relationship with a visit to Paris, home of Marion's parents — and several of her ex-boyfriends.

When Pippa and Thomas move into their dream apartment, they notice that their windows look directly into the apartment opposite – inviting them to witness the volatile relationship of the attractive couple across the street. But what starts as a simple curiosity turns into full-blown obsession with increasingly dangerous consequences.

Tokyo, Japan, 1989. Lucy Fly, a foreigner who works as a translator, begins a passionate relationship with Teiji, a mysterious man obsessed with photography.

A young advertising executive's life becomes increasingly complicated when, in order to impress her boss, she pretends to be engaged to a man she has just met.

A young Japanese woman named Yoko finds her cautious and insular nature tested when she travels to Uzbekistan to shoot the latest episode of her travel variety show.

Two interwoven stories. The first is a biography of anarchist Sakae Osugi which follows his relationship with three women in the 1920s. The second centers around two 1960s students researching Osugi's theories.

The story follows the social intercourse between a cameraman, Masaya, with a visual impairment, and Misako who disconnects from the world.

Saya Suzuki is an ordinary employee working at a hotel. She falls in love with her elite boss Susumu Tsuge. Through their romance, Saya Suzuki grows as a person.

Masashi is a photographer. He has his parents and an older brother Yukihiro. Through the 2011 Tohoku earthquake and tsunami, Masashi begins to take staged photos of his family.

As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection.