Daisuke Kosugi

A Japanese architect, Tadashi has lived his life in accordance with modern, rational, and constructive ideas of control and efficiency, ideas which also found physical expression in his life after retirement as a bodybuilder. This ideology faces dilemma after he has been diagnosed with an unusual and incurable progressive brain disease affecting his movements and speech.

Art director Naoki Hayakawa works 16 hours daily in a creative, neo-totalitarian advertisement company in Tokyo. The working pressure causes a mental condition between sleep and wakefulness where he has strange and wonderful dreams.

All that goes before forget is an experimental short film about traumatic memories and flashbacks caused by PTSD (post-traumatic stress disorder). The film is composed of three fragmented stories that depict a young girl in postwar Norway, a Japanese schoolgirl during World War II, and an androgen person in their twenties in a contemporary domestic setting. These three individuals belong to very different places and eras, and their stories are interwoven with a voiceover—the voice might belong to one of the characters on-screen, or all, or none. Scenes are depicted with close-up images, which alludes to a certain level of significance, as if they were hinges to memories, but the overall narrative remains tantalizingly elusive. Based on personal accounts of surviving trauma, the film uses fiction as a form for speculating about those events that might define a life, while simultaneously defying our ability to narrate them.

The video focuses on how we learn to move our bodies and its effect on rhythm and poetry. The video combines found clips of Namba-walking (a traditional Japanese walking style), race, transgender voice training tutorials, and club culture symbols. The video speculates the link between walking and dancing styles, the rhythm of haiku poetry, and club music. The video is created using datamoshing, a method used to destroy the recognition criteria of different video clips. Playing the video after this uncontrollable process works only with motion detection.

The director meets his uncle Yuji for first time in NY in 2015 after Yuji left Tokyo to play salsa in Spanish Harlem in the late 70’s. The film presents mixed emotions of initial admiration and the realisation of what it means to live as an artist through a lifetime.

A Japanese architect, Tadashi has lived his life in accordance with modern, rational, and constructive ideas of control and efficiency, ideas which also found physical expression in his life after retirement as a bodybuilder. This ideology faces dilemma after he has been diagnosed with an unusual and incurable progressive brain disease affecting his movements and speech.

A Japanese architect, Tadashi has lived his life in accordance with modern, rational, and constructive ideas of control and efficiency, ideas which also found physical expression in his life after retirement as a bodybuilder. This ideology faces dilemma after he has been diagnosed with an unusual and incurable progressive brain disease affecting his movements and speech.

A Japanese architect, Tadashi has lived his life in accordance with modern, rational, and constructive ideas of control and efficiency, ideas which also found physical expression in his life after retirement as a bodybuilder. This ideology faces dilemma after he has been diagnosed with an unusual and incurable progressive brain disease affecting his movements and speech.

Art director Naoki Hayakawa works 16 hours daily in a creative, neo-totalitarian advertisement company in Tokyo. The working pressure causes a mental condition between sleep and wakefulness where he has strange and wonderful dreams.

Art director Naoki Hayakawa works 16 hours daily in a creative, neo-totalitarian advertisement company in Tokyo. The working pressure causes a mental condition between sleep and wakefulness where he has strange and wonderful dreams.

All that goes before forget is an experimental short film about traumatic memories and flashbacks caused by PTSD (post-traumatic stress disorder). The film is composed of three fragmented stories that depict a young girl in postwar Norway, a Japanese schoolgirl during World War II, and an androgen person in their twenties in a contemporary domestic setting. These three individuals belong to very different places and eras, and their stories are interwoven with a voiceover—the voice might belong to one of the characters on-screen, or all, or none. Scenes are depicted with close-up images, which alludes to a certain level of significance, as if they were hinges to memories, but the overall narrative remains tantalizingly elusive. Based on personal accounts of surviving trauma, the film uses fiction as a form for speculating about those events that might define a life, while simultaneously defying our ability to narrate them.

All that goes before forget is an experimental short film about traumatic memories and flashbacks caused by PTSD (post-traumatic stress disorder). The film is composed of three fragmented stories that depict a young girl in postwar Norway, a Japanese schoolgirl during World War II, and an androgen person in their twenties in a contemporary domestic setting. These three individuals belong to very different places and eras, and their stories are interwoven with a voiceover—the voice might belong to one of the characters on-screen, or all, or none. Scenes are depicted with close-up images, which alludes to a certain level of significance, as if they were hinges to memories, but the overall narrative remains tantalizingly elusive. Based on personal accounts of surviving trauma, the film uses fiction as a form for speculating about those events that might define a life, while simultaneously defying our ability to narrate them.

All that goes before forget is an experimental short film about traumatic memories and flashbacks caused by PTSD (post-traumatic stress disorder). The film is composed of three fragmented stories that depict a young girl in postwar Norway, a Japanese schoolgirl during World War II, and an androgen person in their twenties in a contemporary domestic setting. These three individuals belong to very different places and eras, and their stories are interwoven with a voiceover—the voice might belong to one of the characters on-screen, or all, or none. Scenes are depicted with close-up images, which alludes to a certain level of significance, as if they were hinges to memories, but the overall narrative remains tantalizingly elusive. Based on personal accounts of surviving trauma, the film uses fiction as a form for speculating about those events that might define a life, while simultaneously defying our ability to narrate them.

The video focuses on how we learn to move our bodies and its effect on rhythm and poetry. The video combines found clips of Namba-walking (a traditional Japanese walking style), race, transgender voice training tutorials, and club culture symbols. The video speculates the link between walking and dancing styles, the rhythm of haiku poetry, and club music. The video is created using datamoshing, a method used to destroy the recognition criteria of different video clips. Playing the video after this uncontrollable process works only with motion detection.

The director meets his uncle Yuji for first time in NY in 2015 after Yuji left Tokyo to play salsa in Spanish Harlem in the late 70’s. The film presents mixed emotions of initial admiration and the realisation of what it means to live as an artist through a lifetime.