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If “light” is the protagonist of film, the idea would not change if “darkness” replaces “light”. Yoshimoto proves this point with most simplicity. Placing a tiny point of ray in pitch black, his darkness achieves a limitless depth. This style goes under trial from around 1988 – a squirming object in drowning darkness goes through a transition from a solid machinery part to a soft Japanese architectural fixture to a misty female figure. Each of the objects, a subject of fancy, is placed in good balance, mingling with Rei Harakami’s sound effects. This is one of Yoshimoto’s most intense works.
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