FLASH
Director：ODA Kaori
Screenwriter：ODA Kaori
Cast：Suncica Fradelic, Oda Kaori, Takioka Miyuki, Murata Kayoko, Oda Chigusa, Oda Sueko, Saito Airi, Saito Haruki, Saito Sayuri
Producer：ODA Kaori
Cinematographer：Oda Kaori
Running Time：25mins
Region：Bosnia and Herzegovina
Year：2025
Language：Bosnian, English
Production Company：film.factory
SYNOPSIS
On a train from Sarajevo to Zagreb, as I looked out of the window at the foreign landscape, I felt a sense of nostalgia and a question crossed my mind:
‘What is my first memory?’
Could primitive memories be found and shared among human beings? If collective memories exist within us as something inherited, I would like to capture them using a camera and a sound recorder to see what they are like.
Director Biography
Kaori Oda (小田香), born in Osaka (Japan), 1987. Filmmaker/Artist. Through images and sounds, Kaori Oda’s works explore the memories of human beings. Oda lived in Sarajevo for three years from 2013 and completed the Doctor of Liberal Arts in filmmaking under the supervision of Béla Tarr in 2016.Oda’s first feature, Aragane (2015) shot in a Bosnian coal mine, had its World Premiere at Yamagata International Film Festival and received Special Mention. Her second feature, Toward A Common Tenderness (2017) a poetic film research, had its World Premiere at DOK Leipzig and Cenote (2019) shot in underwater caves in Yucatan Mexico, was premiered in Bright Future section at International Film Festival Rotterdam 2020. The recent middle length film GAMA (2023) has been screened at MoMA Doc Fortnight, Cinéma du Réel and Festival du cinéma de Brive (Jury SFCC de la Critique). Oda received the Inaugural Nagisa Oshima Prize in 2020 and the new face award of Minister of Education Award for Fine Arts in 2021.The latest feature, Underground (2024) that explores subterranean spaces in Japan, had its World Premiere at Tokyo International Film Festival and International premiere at Berlinale Forum 2025.
Director's Statement
This film began with a personal question: “what is my first memory?” I posed the same question to my family and friends, inviting them to send their responses as voice messages. When individual and specific memories come together, might we begin to glimpse the outline of a collective memory as a whole? Might the images passing by the train window — moving between layers outside the window, on its surface, and within it — connect with the primal landscape within our memories?
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