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That even within a dramaturgically relevant omission of the massive cinematic correspondence between Yamada and the painter Yamazaki Mikio, known as OFUKU (Film Letter) I-V (1986-2006), Yamada redefines his syntax for his travel films from the first half of the 1990s. His films become increasingly interwoven: the continuity of a body of work can actually be experienced here, even if it no longer seems desirable in modern times.Read More »