I have spent numerous hours conversing with Keiko, the main character of my documentary, and have come to realize that she struggles to convey her thoughts and emotions effectively. This realization reminded me of why I chose filmmaking over painting as my artistic medium.  I employ painterly aesthetics to reveal Keiko's hidden emotional states and the drama surrounding her. By doing so, my characters become the creators of their own psychological portraits on the screen.

After spending ten years abroad and gaining a different perspective on Japan, I returned to my homeland and realized that everything remained the same. It was then that I met Keiko, a traditional dance teacher. 

In my film, I document Keiko's attempts to reshape the future of her tradition. I want to showcase this world in a movie because I have two different perspectives. This allows me to get closer to Japan's isolated and inaccessible culture and shed light on the internal struggles of women like Keiko.