Trace of Nowhere, 33min., Japan
Directed by Rel Stott
One performer. No words. A vision of absence and presence.

https://www.instagram.com/rei.stott

Get to know the filmmaker:

1. What motivated you to make this film?

Through my personal practice of Butoh and its bodily methods, I often
experience a sense of the “unseen world”—what Japanese aesthetics call
yūgen. I wanted to share that sensation with more people. The film became
an attempt to preserve the traces of that invisible realm, which I see as a
contemporary form of ritual or prayer. My aim was to translate its purity
and quiet clarity into cinematic form.

2. From the idea to the finished product, how long did it take?

The whole process took about five months: one month for planning, one month
for shooting, and roughly three months of editing. It was a very compressed
schedule for a first-time director, but I worked full-time on it. I felt
that a concentrated timeline would allow me to seal the sense of stillness
we captured during the shoot directly into the film.

3. How would you describe your film in two words?

“Sacred Silence.”

4. What was the biggest obstacle you faced in completing this film?

As a first-time director, everything—from shaping a visual language to
managing a small production team—was a challenge. The hardest part was
finding a cinematic form that could convey the invisible, ritualistic
dimension without distorting it. Editing was especially demanding; I had to
balance the presence of the dance and the music so that each would enhance
the other.

5. What were your initial reactions when watching the audience talking
about your film in the feedback video?

I felt deeply grateful. Many viewers perceived the ritualistic and
spiritual qualities we intended, and that confirmed for me that non-verbal
expression really can cross borders and reach people directly.

6. When did you realize that you wanted to make films?

There wasn’t a single turning point. Performing Noh roles as an actor and
assisting film directors on set gradually led me toward filmmaking. At the
same time, I had long been exploring how to express the world seen through
one’s “inner nature.” When I met the dancer Mizuki Gojo, I felt that
filming her could allow mythic images—stories older than language—to be
recreated through cinema.

7. What film have you seen the most in your life?

The Star Wars series. It’s thrilling entertainment, yet it also weaves
together multiple cultural elements and even touches on Taoist philosophy.
That blend has always fascinated me.

8. What other elements of the festival experience can we and other
festivals implement to satisfy you and help you further your filmmaking
career?

Festivals that treat non-verbal, movement-based works with care are
significant to me. Opportunities for dialogue with fellow directors, and
guidance on distribution methods that preserve the integrity of the viewing
experience, would be extremely valuable.

9. You submitted to the festival via FilmFreeway. How has your experiences
been working on the festival platform site?

Very smooth and easy to use. For independent filmmakers working with small
teams, the ability to connect with international festivals through a single
platform is a major advantage.

10. What is your favorite meal?

Sushi, sukiyaki, tonkatsu.

11. What is next for you? A new film?

Yes. I’m currently preparing my first feature film. It will have a clearer
narrative while maintaining a ritualistic and refined sensibility—what I
call “ceremonial entertainment.” For the next project, I hope to expand the
team and elevate the level of cinematography, costume design, music, and
art direction to create a truly high-quality art film.