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Yuko Mohri is best known for her sculpture and installations comprising found objects and kinetics, often incorporating aspects of chance. Here she splices together scenes in Yasujirō Ozu’s acclaimed film Tokyo Story (1953) where no humans are present. Ozu’s film tells the story of an elderly couple visiting their children, who are now adults and whom pay their elderly parents scant attention. Much of it is set within small domestic interiors, with fixed camera shots and with much of the ‘action’ taking place off camera, such that its tempo, setting and themes all strongly resonate with our current circumstances, as does Mohri’s eerie subversion.Read moreLess
Yuko Mohri is best known for her sculpture and installations comprising found objects and kinetics, often incorporating aspects of chance. Here she splices together scenes in Yasujirō Ozu’s acclaimed film Tokyo Story (1953) where no humans are present. Ozu’s film tells the story of an elderly couple visiting their children, who are now adults and whom pay their elderly parents scant attention. Much of it is set within small domestic interiors, with fixed camera shots and with much of the ‘action’ taking place off camera, such that its tempo, setting and themes all strongly resonate with our current circumstances, as does Mohri’s eerie subversion.
The story
Yuko Mohri is best known for her sculpture and installations comprising found objects and kinetics, often incorporating aspects of chance. Here she splices together scenes in Yasujirō Ozu’s acclaimed film Tokyo Story (1953) where no humans are present. Ozu’s film tells the story of an elderly couple visiting their children, who are now adults and whom pay their elderly parents scant attention. Much of it is set within small domestic interiors, with fixed camera shots and with much of the ‘action’ taking place off camera, such that its tempo, setting and themes all strongly resonate with our current circumstances, as does Mohri’s eerie subversion.
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- Director
- Yuko Mohri