A rapidly shifting urban landscape — waves of people, railway networks, buildings, and city lights generate an immense torrent of information. This work intensifies that “excess” through visual techniques such as slit-scan and delay, making the speed and density of changing information visible. Screened at “Toki-no-ma,” an immersive gallery created through the adaptive reuse of the former Hino Junior High School in Hino Town, Tottori Prefecture. Presented in the first opening program, “A Classroom Where the City and Satoyama Intersect.”

Inspired by Nedu, Hino Town, where the sound of water fills the town. An installation work in which overlapping streams of water envelop the space. At Tokinoma, an immersive gallery in Hino Town, Tottori Prefecture, housed in a repurposed former school, we held the special exhibition “A Classroom Where the City and Satoyama Intersect.” As one of the screening works in the exhibition above, this piece focuses on “satoyama,” and abstractly expresses both its beauty and the issues present in the region.

2nd single「化け物のサーカス」 怒り、孤独、自己嫌悪。他者への憎しみと、 自分すらもわからなくなる不安。 そんな言葉にできない感情を、 鋭利で狂気的なリリックと破壊的なサウンドと ぎこちなくて目まぐるしいビジュアルにのせて訴える。 過激な表現の奥に潜むのは、どうしようもなく不器用な本音。 “化け物”として生きざるを得なかった者たちへの鎮魂歌であり、 言いたくても言えない想いを抱える人々の代弁となる歌。

An independent character animation project

A music video focused entirely on addictiveness. Designed to prioritize the audience’s visceral experience, with memorable phrases that stick in your head, a structure that gradually accelerates in tempo, and twists that make you think it’s over before it keeps going. It was created as a form of “addictive entertainment” that lingers in the brain.

A reel compiling video works produced in 2025.

Created in AE, printed out, and then brought back into AE.

Official Selection, Directors’ Fortnight, 79th Cannes Film Festival We Are Aliens to be released in theaters in 2026. Co-starring: Ryota Bando × Aoto Okayama Music: Yaffle Two boys meet in a small town in the Heisei era. Tsubasa, troubled by being “ordinary,” and Kyotaro, a “special” presence. But what happens beyond the distortions of everyday life will dramatically change the relationship between the two——. Is this a story of the boys’ youth? Or a memory they wish they could erase?

A circus-style music video themed around the desire for approval. It portrays, in a show-like format, the characters’ comical yet slightly unsettling descent as they keep chasing likes. The more they become fixated on “being seen,” the more chaotic the stage grows. While foregrounding the fun of entertainment, it presents a satirical and ironic take on the modern need for validation. Each character personifies a different form of approval-seeking, such as “domination of others” and “courtship.” Their character designs are filled with circus-inspired motifs.

A showreel compiling HARUHITO HIRASAWA’s commercial and independent productions from 2026.

First self-produced work. A piece that rhythmically animates the motion of rotation.

To celebrate reaching 100 followers on X

In this work as well, I carried over from my previous works the principle of rigorously applying sound sync, faithfully reflecting even the smallest traces of the music in the visuals, while using no intentionally symbolic shapes or imagery at all; instead, I composed it as simple motion graphics centered on primitive circles and squares. Compared with my previous independent productions, this work explores the limits of motion—moving even faster while remaining intact. In terms of its look, I aimed for a vivid, tactile appearance that, despite not being a 3DCG work, would still feel materially present, by compositing a 3D-like look inspired by Apple’s Liquid Glass—something absent from my previous works—onto flat 2D graphics. Although the work runs at 24 fps, which is visually disadvantageous for fast motion, I aimed for a crisp visual experience with no sense of afterimage, without relying at all on motion blur or similar techniques. I established certain rules for the luminance and hue differences between adjacent frames, as well as for the amount of change in the shapes themselves, though the latter is a subjective evaluation, and this led to an examination of how impressions differ depending on those threshold values. Personally, I also have the impression that in recent years there have been many examples of relying on camera movement to enhance the overall impact and “amount of information” in a video. In this work, I kept camera movement to a minimum based on the principle of not moving along two or more of the xyz axes simultaneously whenever possible, and instead focused on appealing graphic transitions through morphing of the shapes themselves. Especially with fast motion at 24 fps, I was keenly reminded of how long one second is, and how few frames there are to draw the necessary images for the progression of the piece, and I would like to continue exploring the possibilities at the limits of such constraints.

A short film created for submission to the screening event “FRENZ2025.” In anticipation of its summer release, the script was written around the theme of summer, and ǢǪ composed the music based on the script and character designs. The result was a story-driven visual work that focused on the excitement of looking forward to summer vacation, as well as the wistfulness and loneliness of summer’s end, Obon, and the many different facets of summer. This visual work takes as its theme the summer vacation of two second-year high school students, told from the perspective of Rei Izumi. Using analog techniques to create a nostalgic atmosphere, it depicts the scenes in which Rei’s feelings for Chikao, and the diary pages recording their memories together, appear and vanish like a life flashing before one’s eyes, alongside the music. By staining printed illustrations with tea and coffee to create blotches and signs of wear, and incorporating textures rendered through analog means such as crayons and India ink, the work expresses how the days the two spent together gradually become more and more hazy. ・Synopsis After the closing ceremony, second-year high school students Chikao Amaha and Rei Izumi headed to a family restaurant to discuss their plans for summer vacation. During the break, Chikao would be busy with a part-time job, and Rei with activities in the art club, but even so, they were filled with excitement for the summer vacation about to begin.