Next weekend, from Nov 19-21, we'll be showing PEEP TV SHOW by Yutaka Tsuchiya at Consolidated Works. There is a $7 charge for tickets but we are a non-profit organization with the cheapest movie tickets in town (all info is online at www.conworks.org). Starring two non-actors he met while filming his previous feature, the documentary THE NEW GOD, PEEP TV SHOW is a very weird and very brilliant study of (illegal, internet-based) voyeurism and total alienation among the various bizarre youth subcultures of contemporary Tokyo (mostly it stays with a couple internet hermits and a gosloli). I interviewed Yutaka for RES Magazine (i'm not sure when that's hitting the stands, as that magazine's schedule continually baffles me). I've pasted part of the article below. You can also check out Yutaka's website at www.peeptvshow.net
Please help us get the word out about it. I tracked Yutaka down in Japan to get this film, and it is the first time it's played theatrically in the US (which means that it's only shown at festivals and universities). As we're a non-profit organization, we don't have much money for advertisement and are largely dependent on reviews and word-of-mouth for our shows. It plays Nov 19-21 at 8pm at Consolidated Works, located in South Lake Union between Republican and Mercer. It's only a block from the #70 busline (and, on weekends and in the evenings, the #71-73 as well), and only a block from I-5 (Mercer St/Seattle Center Exit, both North and Southbound).
Yutaka Tsuchiya's PEEP "TV" SHOW is a brilliant study of a society so saturated with recorded images and digital stimulation that the real thing now feels inadequate. For what seems to be an entire generation of loners and outsiders in contemporary Tokyo, a sense of "reality" can only come through the mediation of a computer monitor or tv screen. According to Tsuchiya, these characters "cannot feel the reality before their eyes. For them, it is only a reflection of what they see in the media." Shot on digital video with several sequences utilizing hidden cameras and various surveillance devices in public spaces, the film has created a stir for its frank depiction of voyeurism, and the link it draws between sexuality and violence - particularly the attacks on the World Trade Center. The androgynous, heavily-pierced Hasegawa and a "gothic Lolita" (a subculture that shares a wardrobe with Little Bo Peep) named Moi, who has grown so tired of her own identity that she fantasizes about changing bodies the way she changes clothing styles, come together over Hasegawa's voyeuristic website, which deals mainly in upskirt photography and peeping tom surveillance footage. Hasegawa claims WTC as the website's primary inspiration, creating in him a desire to "peak under the rubble." Tsuchiya's characters don't just look, they look back, fully conscious that they're being watched and recorded. They live an existence that is validated only by the cameras - real or imagined - that capture it. The real problem is not that these people cannot relate to one another, but that, in the absence of any such interpersonal context, their very identities slip away. "Our sense of reality has begun to deviate," Tsuchiya claims. And the WTC tragedy hangs over his film as the event that should have shaken them back into reality, but stills seems to be nothing more than strangely beautiful images on a tv screen. (Text by Adam Hart. Translation Kristi Govella.)
cross-posted to seattle