It may be a trivial thing, but it's important.

MIDORI, Death Lullaby, and Limitless Paradise all received poor reviews upon completion.
However, after MIDORI became a hot topic in France in 1994, the evaluation of MIDORI by people in the Japanese subculture changed completely.
At first, people who expressed a sense of rejection or aversion to MIDORI began to praise it.
After that, Harada was approached about various screening and production projects.
However, all of them were "I want you to make a work similar to MIDORI".
Harada, who was still young and inexperienced at the time, responded to all of their inquiries and experienced many failures.
The opinions of Harada and the surrounding planners were always at odds.
Harada says. "People only saw MIDORI's superficial success. What I want to do is always create new social experiments and raise questions. It's not about creating safe entertainment."
It is true that MIDORI's large-scale performance(1992) was made possible by the large number of volunteer staff.
Now, however, Harada is entering a new phase of experimentation.
Many people in Japan feel secure when a work is reported and praised. They feel comfortable responding and start talking about it.
However, Horizon Blue and Zashikiro have been intentionally created isolated from commercial circulation.
We avoid media coverage.
So people have to voluntarily refer to the unknown without assistance or endorsement.
That is our urban experimentals.
We want to see the emergence of positive individual action.
In recent years, Japanese movie promotions have often quoted endorsement comments from celebrities.
However, Harada hopes for an individual decision, even if the work is anonymous and the background behind it is unknown.
In addition, his works Horizon Blue and Zashikiro deal with real-life injuries, illnesses, and incurable diseases.
He believe that screenings must be carried out carefully to protect the people who are the models.

Harada believes that there is no superiority or inferiority in works, and that all are equal. (This is based on the philosophy of Professor Shigeru Suzuki, the teacher of seminars for adults that Harada took when he was in elementary school.)

For this reason, Kiryukan avoids submitting to competitions (with the exception of works from student days).
In recent years, there has been a growing tendency for only films that win awards at film festivals to receive attention, while films that are unsuccessful are ignored.
Horizon Blue has turned down two film festival invitations.
Horizon Blue also had a goodwill friend of Harada's who lent a disc for screening to a major newspaper company without contacting Harada.
The newspaper company did not return the disc, and the disc was effectively lost.
Harada also received a call from a curator at an international film festival asking him to show him Horizon Blue, but the condition was that he "upload it to YouTube," so Harada declined.(Movies are meant to be experienced in the dark).
Harada has now chosen a production style that is completely individual rather than collective.
For complete freedom of expression.
Zashikiro's political expressions once became a problem.
In Japan, it is basic not to talk about politics.
However, politics and life are closely connected.
In today's mass consumption and information age, we choose to control our information.
However,No matter what era there are, there are people who have the courage to mention seemingly closed subjects.
German political scientist Elisabeth Noelle-Neumann called them the "avant-garde."
Kiryukan's work is not a content service offering for consumption. The purpose is to transform society.
Brecht, Eisenstein, and Shuji Terayama said, ."The audience also needs training."
The experimental theater troupe "Banyu Inryoku", which is the sole successor to Shuji Terayama's experimental theater, claims that theater and the audience are attracted to each other like gravitation (Terayama is the source of this theory).
In his later years, Eisenstein devised a “three-dimensional movie montage” to eliminate the boundary between the screen and the audience.
This was later realized by Shuji Terayama in the short film "Lola". (However, although Terayama mentions Hegel's dialectics, we have not confirmed any references to Marx's or Eisenstein's dialectics at this time).
Now, when a film is completed, both film companies or independent films follow a set schedule, such as film festival submissions and talk shows.
However, in Japan in the 1970s, both film distribution companies or independent artists performed bold experimental performances that captivated audiences.
Nowadays, students who aspire to become film makers are becoming more concerned about other people's evaluations and opinions.
From around 1980, movies and animation became official subjects at Japanese universities, and artistic works, which normally would not be able to determine their superiority or inferiority due to their diverse individuality, began to be scored and used as objects of ranking and comparison.
As a result, all young people became concerned about the eyes and evaluations of others. Expression and action (and political participation) also decline.
When Harada was a lecturer at an art school, he spoke to students about the definition of works.
"Works is... If you don't make it works, you die. That's why we make the works.
Even if 90% of humanity rejects it, if you feel you need it, you should make it.

I'm sure that the 10% of people in the world who are currently alienated from society will see it works, gain courage, realize that "Ah, it's okay for me to live," and break free from the curse created by capitalism.

Somewhere in the world, there is always someone who needs your work.

If you have the courage to assert minority opinions through your works, we and society will become more free."