For everyone aspiring to create things in this age, a theatrical animated film made entirely with full 3DCG

We produced the pilot film for “HIDARI,” the first feature to be directed by Whatever CCO Masashi Kawamura, who also created the original story and screenplay, together with Dwarf Studios and TECARAT, a top-tier animation team that supports the global stop-motion industry. “HIDARI” is a stop-motion period drama that boldly reimagines the story of the legendary Edo-period sculptor Jingoro Hidari, a figure with many surviving works and anecdotes but whose actual existence remains uncertain, weaving it together with historical facts from the Edo period. It is depicted using puppets carved from wood, just like the works of Jingoro Hidari himself. As with the many legends surrounding Hidari, the film brings “wooden dolls to life” through frame-by-frame animation. Please take a look at this unprecedented visual experience, which daringly blends the dynamic action of Japanimation with the analog world of stop-motion.

First 3DCG in the series! KOO-KI, together with MARZA ANIMATION PLANET, which produced the film itself, created the opening sequence for the movie “LUPIN III THE FIRST.” Released nationwide on December 6, 2019. Blu-ray & DVD released on June 3, 2020. ▼ Storyboards for the opening sequence of “LUPIN III THE FIRST” now available! https://koo-ki.co.jp/topics/detail/12161

Based on the founding couple of Fukuya, the original creator of karashi mentaiko, this hugely popular drama that began in Hakata has been made into a film for the first time. Released nationwide on January 18, 2019.

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A collection of works by video director/designer Hotaka Shimazu (MeMeM). His work spans short film direction, motion graphics, and documentary video production.

Directed the animation segment Hand-drawn on paper Pencil, ink, watercolor pencils

数々の傑作ミステリーを世に送り出してきたベストセラー作家：東野圭吾が描く「マスカレード」シリーズ（集英社刊）は、累計発行部数470万部を突破し、屈指の人気を誇る。その第一作である『マスカレード・ホテル』は2019年に実写映画化され、興行収入46.4億円の大ヒットを記録した。あれから2年、“水と油”のバディが再び難事件に挑む。 破天荒な刑事・新田浩介を演じるのは、数々の大ヒット映画・ドラマに出演し、音楽やCMなど様々なジャンルで常にトップを走り続ける木村拓哉。東野が木村を「あてがき」したと語る新田は正真正銘のハマリ役。木村×東野×鈴木監督はマスカレードでしか味わえない極上のマリアージュとなった。そして新田の相棒となる真面目過ぎるホテルマン・山岸尚美を演じるのは、『コンフィデンスマンJP』シリーズ、映画『MOTHER』、ミュージカル『フリムンシスターズ』とコメディからシリアスな役まで演じ分け、第44回日本アカデミー賞最優秀主演女優賞も受賞した、実力派女優の長澤まさみ。唯一無二の“バディ”の復活だ。 舞台となるのはまたしても「ホテル・コルテシア東京」。大晦日のカウントダウン・パーティーに現れる殺人犯を捕まえるため、新田は再び“全てを疑う”潜入捜査官としてホテルのフロントに立つ。他方フロントクラークからコンシェルジュに抜擢された山岸はホテルマンとして“お客様を信じる”ことで最上の時間の提供を心掛ける。2年の時を経ても、2人の考え方は相容れない。そこへ、次々と現れるパーティー招待客≒容疑者を演じる日本映画界を代表する豪華でクセ強めのキャスト陣。誰もが怪しく、謎は深まるばかり。

Title song for the film Fureru by YOASOBI. It is structured so that the story of Mari Okada’s novel “Fureru. no, Zenya.” and the story of the film itself intersect. The scenes from the novel were directed by Tatsuyuki Nagai, who also directed the film, while the film scenes were created as image animation by a team of animators led by Yoshiki Imazu. It is a music video brought together through the efforts of many creators and everyone involved.

Official Selection, Directors’ Fortnight, the 79th Cannes Film Festival The film We Are Aliens will be released in theaters in 2026. Co-starring: Ryota Bando × Amon Okayama Music by: Yaffle Two boys meet in a rural town in the Heisei era. Tsubasa struggles with being “ordinary,” while Kiyotaro is someone “special.” But an incident that occurs beyond the distortions of everyday life dramatically changes the relationship between the two——. Is this a story of their youth? Or a memory they want to erase? ▼Official Website https://nothingnew.film/wearealiens/ [Film Information] Title: We Are Aliens English Title: We are Aliens Release Date: Theatrical release in 2026 Planned, Written, and Directed by: Kohei Kadowaki Cast: Ryota Bando, Amon Okayama (co-starring) Music: Yaffle Copyright: ©NOTHING NEW, MIYU PRODUCTIONS Planning, Production, and Filmmaking: NOTHING NEW In cooperation with: MIYU PRODUCTIONS

“Gacha Life” Available on the short drama app [FANY:D]. [Synopsis] Sachiko Yamanoura (27), who works in the HR department of an IT company, has spent her days with a string of the world’s worst luck—stepping on gum, catching her boyfriend cheating, and more—until she finally died in a ninth freak accident, without a second thought. But in the afterlife, “Gacha Life,” a salvation awaits: she can spin a gacha and choose her next-life partner. As one after another of the men appear—dependable superiors, dangerous entrepreneurs, vanished fiancés, and other anything-but-straightforward types—Sachiko faces her own “luck” and searches for what true happiness really is. A fresh kind of fantastical romantic comedy, woven together from a fantastical setting and comedic developments. Before long, Sachiko finds herself forced to “interview” a colorful cast of men, including an ex she wants to break up with, an influencer, and a missing fiancé. Are the choices really nothing but duds, or is there a winner in the mix? Who, in the end, will she choose as her “partner in the next life”—? [Project Concept] “Gacha Life” is a work that explores the fundamental question, “Is life determined by luck?” by intertwining black comedy with serious human drama. At the heart of the story is the journey of the protagonist, Sachiko Yamanoura, as she reexamines the choices in her life through a system of chance called “gacha.” At the foundation of the story lies the theme, “Can fate really be changed?” Sachiko has long believed that she is “unlucky,” but is her misfortune truly due to luck? Or have her own choices and actions been drawing those outcomes to her? This work poses such questions to the audience. [Direction Policy] For this work, I wanted to depict fantasy and real emotions in exquisite balance. By contrasting the realism of the world we know with the abstract afterlife world of “Gacha Life,” the story gains greater depth. Gacha Life (the afterlife) is designed as a simple, symbolic space, with visuals that allow the audience to intuitively understand, “What’s going to happen here?” By incorporating lighting and game-like UI (user interface) elements, we emphasize the feeling of “being made to choose one’s fate.” Depictions of the real world use handheld camerawork and natural lighting to create a realistic, intimate atmosphere. This emphasizes the tangible feel of Sachiko’s life and makes it easier for the audience to empathize with her choices. Balance of humor Not too serious, but not too light either. Since the very premise of “gacha” is humorous, the characters’ reactions are portrayed realistically. Rather than making the audience feel, “This is something that happens only in fiction,” we want them to think, “Maybe something like this could actually happen?”

The words of Tahi Saihate, who has created many poems about constellations and the universe, leap off the page and light up the planetarium. Even the mythological explanations that connect one poem to another are entirely in the poet’s own words. Please enjoy this new kind of planetarium, where you can savor poems that shimmer in the night sky.

The elementary school student Rintaro encountered a deer-man https://filmarks.com/movies/119487

Official trailer for a film festival held at an airport. When making animations, I always go through trial and error and experiment every time, but I am constantly troubled by how hard it is to actually improve. If I boldly discard the things I have built up, I sometimes discover something new, or when I break through a certain stage, my vision suddenly opens up and I start to feel delighted. I feel as though I create while repeating this process of coming closer and moving away, becoming blurred and then clear again. The sound design includes the sounds of stationery and art materials used in the actual trailer production, as well as voices and singing from meetings. I hope viewers can feel the excitement of finally completing the work and setting off for the film festival.

Music video for "Episode X," a song provided by Ayase and performed by Ado as the theme song for the film Doctor-X the Movie.

A showreel featuring commercial and personal works created up to 2025. I have worked across a wide range of fields and forms of expression, including film, television, streaming dramas, commercials, and event visuals.