avisualspanking said: I'm sure others have asked this, but can you post examples of more complex kishōtenketsu narratives? Maybe you have and I've just missed them.

Many who responded to the article suggested the work of Ryūnosuke Akutagawa—particularly his story Rashōmon (which is distinct from the Kurosawa film of the same name). We might also recommend Makoto Shinkai’s short film She and Her Cat, as well as most of the shorts that comprise Kunio Kato’s The Diary of Tortov Roddle.

As a quick note, kishōtenketsu stories can and many times do feature some form of strife; it just isn’t written into the structure, and it usually isn’t the central arc of the story. For example, the third-act twist in She and Her Cat might viably be thought of as a kind of conflict. On the other hand, much of Tortov Roddle—the second vignette is a good example—clearly does not have any conflict. In both cases, the twist is the source of interest; and conflict, if any occurs, is a surface-level event. We hope that this is helpful.

The Diary of Tortov Roddle

Whether they be underground career-starters like Makoto Shinkai’s brilliant She and Her Cat (1999) or confident masterworks such as Koji Yamamura’s Oscar-nominated Mt. Head (2002), Japan’s experimental animated short films get little publicity in the US. Yet this “genre”—taken in the loosest possible sense—has produced some of the most interesting art house animation of the past decade and a half. 

Kunio Kato is among its very best contributors. His work is painterly. He has an eye for detail and composition such that still frames from his films would not look out of place on gallery walls. Often, his output is painterly in a second sense: it quotes directly from surrealist works. Magritte’s influence, for example, permeates The Apple Incident (2001), which opens with a reproduction of The Listening Room.

This brings us to the work named in the header. Kato’s The Diary of Tortov Roddle (2003) is a surrealistic short film made up of brief vignettes, the contents of which are by turns sad, touching, disturbing and awe-inspiring. Visually, Kato takes clear inspiration from Dalí, whose The Temptation of St. Anthony is referenced via Tortov’s pig-like pet. This writer will leave the rest for the reader to discover in the embedded video below.

Still Eating Oranges