Makoto Nagahisa

Pisko the Crab Child Is in Love

Pisko's father is a crab while her mother is human. Pisko falls in love with her teacher but is heartbroken when he leaves her because she is half-crab. Pisko finally finds love and companionship with her friend Kubokayo.

Pisko the Crab Child Is in Love

Pisko's father is a crab while her mother is human. Pisko falls in love with her teacher but is heartbroken when he leaves her because she is half-crab. Pisko finally finds love and companionship with her friend Kubokayo.

Kaguya

Under the impetus of the 75th anniversary of the bamboo top-handle bags, the House presents a contemporary retelling of an ancient Japanese story entitled ‘Taketori Monogatari (The Tale of the Bamboo Cutter).’ Makoto Nagahisa stages the plot of finding oneself, along with true love, in a Tokyo betwixt and between reality and a dream. Dressed in looks from the Gucci Love Parade collection, Hikari Mitsushima, Aoi Yamada, and Eita Nagayama star in the story shedding a new light on the Gucci Bamboo 1947 and Gucci Diana Beloved lines.

DEATH DAYS

This is the story of one man’s life, set in a world where everybody knows the day they will die: their “DEATH DAY”.

DEATH DAYS

This is the story of one man’s life, set in a world where everybody knows the day they will die: their “DEATH DAY”.

The Rite of Love and Death (but we are still alive)

The movie director Makoto Nagahisa reinterprets Yukio Mishima's "Patriotism" by following a young couple during the coronavirus pandemic. This is the story of COVID-19, the live house, and the couple's self-determination.

We Are Little Zombies

Their parents are dead. They should be sad, but they can't cry. So they form a kick-ass band. This is the story of four 13-year-olds in search of their emotions.

We Are Little Zombies

Their parents are dead. They should be sad, but they can't cry. So they form a kick-ass band. This is the story of four 13-year-olds in search of their emotions.

We Are Little Zombies

Their parents are dead. They should be sad, but they can't cry. So they form a kick-ass band. This is the story of four 13-year-olds in search of their emotions.

And So We Put Goldfish in the Pool.

One summer day, 400 goldfish were found in the swimming pool of a secondary school. This is a story about the four 15-year-old girls who put them there.

And So We Put Goldfish in the Pool.

One summer day, 400 goldfish were found in the swimming pool of a secondary school. This is a story about the four 15-year-old girls who put them there.

Zero nendai zenkei

Kumiko Hoshizaki’s “Akane Sasu Heya” is the story of Maki, a 20-something temp who is sick of her boring job and life in general. The rather bizarre solution she comes up with is to conceive a child behind her boyfriend’s back. Makoto Nagahisa offers the much more impressionistic “Frog.” The story meanders around a bunch of unrelated characters, using experimental techniques like repeated scenes, hallucinatory visuals, blurred shots and disconnected sounds. Lastly, we have “Bouquet Garni,” a much more conventional work from director Junpei Hatano. The plot is centered on a reporter, the relative of a kidnapping victim, and a woman who is obsessed with the case.

Zero nendai zenkei

Kumiko Hoshizaki’s “Akane Sasu Heya” is the story of Maki, a 20-something temp who is sick of her boring job and life in general. The rather bizarre solution she comes up with is to conceive a child behind her boyfriend’s back. Makoto Nagahisa offers the much more impressionistic “Frog.” The story meanders around a bunch of unrelated characters, using experimental techniques like repeated scenes, hallucinatory visuals, blurred shots and disconnected sounds. Lastly, we have “Bouquet Garni,” a much more conventional work from director Junpei Hatano. The plot is centered on a reporter, the relative of a kidnapping victim, and a woman who is obsessed with the case.

Zero nendai zenkei

Kumiko Hoshizaki’s “Akane Sasu Heya” is the story of Maki, a 20-something temp who is sick of her boring job and life in general. The rather bizarre solution she comes up with is to conceive a child behind her boyfriend’s back. Makoto Nagahisa offers the much more impressionistic “Frog.” The story meanders around a bunch of unrelated characters, using experimental techniques like repeated scenes, hallucinatory visuals, blurred shots and disconnected sounds. Lastly, we have “Bouquet Garni,” a much more conventional work from director Junpei Hatano. The plot is centered on a reporter, the relative of a kidnapping victim, and a woman who is obsessed with the case.