The aim was to create a direction that reverses the seemingly negative image of meeting through mistakes and presents it in a pop and positive way. Mistakes and errors are something everyone makes in life, and whether a judgment made at the time is right or wrong depends on the surrounding circumstances and the timing. In reality, when something happens, there is a time lag before you can take it in and make sense of it. In the midst of that, people often go through situations that seem inexplicable and cannot be clearly judged as right or wrong. By rolling along and falling like that, we directly expressed the image of “this is life, and yet there is something compelling about it, and it’s not all bad,” in sync with the lyrics. Being unable to resist and getting totally absorbed in something is neither justice nor evil, but a helplessly human side of us; it can be a mistake, or it can be desire. From there, the first image that came to mind was “missing an aerial trick in a circus.” Also, since a circus is on tour, I had a slight image in mind of messy romantic entanglements developing among the performers during that time. Also, in terms of falling from heaven to earth, and because this was pop music x hip-hop, the first things that came to mind were Wenders’ Wings of Desire and American pop art, so I referenced those. The quotation of Edward Hopper’s Nighthawks comes not only from the fact that the title is Night Owls (this work is the theme song for the TV anime Yofukashi no Uta), but also because it is frequently quoted in Wenders’ works. I also referenced the image of pop-art-style silkscreen prints and the imagery of Romare Bearden. In addition, when considering Creepy Nuts, I was mindful of their broad appeal, especially their exposure on variety shows, so the roulette was inspired by Jungle TV Tamori no Hōsoku, and the confession scene was inspired by Ore-tachi Hyokin-zoku.

Official trailer for the 12th New Chitose Airport International Animation Festival. Using natural motifs such as ripples, droplets, and the moon, I wanted to express the festival’s divine energy and a pure admiration for the works. I also used AI to transform hand-drawn 2D animation into three-dimensional, realistic water, making it possible to “move water,” something that had previously been difficult to achieve. On the other hand, I intentionally reduced the image quality and frame rate of the AI-generated footage, and composed the music with a deliberately simple, primal feel, aiming to evoke the festival’s atmosphere where “warmth and sharpness intersect.”

A story about a high school student who falls in love with someone of the same sex. Karin Fujiyoshi’s feelings are linked with the dance scenes.