Haru (1995)

Nobuyoshi Araki said the camera was Kamala, and Godard said, "All you need for a movie is a gun and a woman." Is that so? The author takes a close-up shot of a man's body, presses a microphone against his thighs and cheeks, and records the sound of jolly and beard rubbing. Her desires go beyond mere fetishism. When Hull's cheeks are rubbed with fragments of his grandfather's ashes, which he disliked because he disperses them, this shooting act even begins to show revenge on the masculine nature itself. On the other hand, the author's feelings for Hull and his outbursts are inevitably settled in the film, where the sexuality theory of the heterosexual dilemma is also beautifully visualized.