First, abundant footage is recorded for images in motion. Then come the scissors, to cut clean the selected parts. All is stirred up, perhaps with too much acid, a little manically and dreams burnt to the spot. Afterwards one imagines that all this mess grows overnight to a film. In Epigone, the name is the program, rebuttal and proof in one. It is the fairy tale about the fairy tale of the utterly original. And what is most appropriate to tell as a film? As one watches, more reasons rush in, each time scarier, to project in stun and to want to watch the film again.
Joe Tanaka is known for his dramas of a different kind, which on the one hand capture the deeply human with inimitable poetic lightness on film, but on the other hand have the habit of crossing the boundaries of the normal at a certain point and scratching the strictly irritating behind it. This year he is represented at the JFFH again; with a film that can justly be regarded as the culmination of his work to date.