恋の姿見 (1986)

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For the first time, the filmmaker, who has previously focused his camera on his parents, friends and cats, chooses a woman as his subject for this film, which consists of three parts, each of which captures a different woman. In each of the three parts, the camera captures a different woman: the first woman dances in a muddy clearing, returns to her room, smokes a kisser, takes off her clothes and enters into a strange world of sensuality with the artist; the second woman just stands there. The third woman strolls through the winter streets in high spirits, performing wherever she can. The artist simply stares at the three women and says nothing. However, he does not miss the eroticism that emerges from his subjects, and the women's sexuality drifts through the succession of unhurried, diary-like images.