Leaning over a fence surrounding a U.S. military base, a woman is happily eating ice cream someone gave her. Those who know the status quo of Okinawa will realise that the ice cream symbolises both a promotion policy in compensation for the accepted bases and an image of tourism unilaterally imposed. The filmmaker herself plays the role of the woman who plays the role of (the people in) Okinawa itself (themselves) relying on such realities. Through simulationism, the film embodies the present tense of the local culture’s disappearance, transformation into tourist attractions and rapid homogenisation.
0.0/10Leaning over a fence surrounding a U.S. military base, a woman is happily eating ice cream someone gave her. Those who know the status quo of Okinawa will realise that the ice cream symbolises both a promotion policy in compensation for the accepted bases and an image of tourism unilaterally imposed. The filmmaker herself plays the role of the woman who plays the role of (the people in) Okinawa itself (themselves) relying on such realities. Through simulationism, the film embodies the present tense of the local culture’s disappearance, transformation into tourist attractions and rapid homogenisation.
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