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This film shows the images of a dancing woman who is wearing Kimono overlapping another image which a naked man is dancing. This is one of the original psychological concepts of C.G. Jung. For women, Animus is an image of a man by projection of her mental energy.
HIDEO, It's Me, Mama is a psychological melodrama that introduces narrative and structural devices that are integral to Idemitsu's work. Exploring the flawed universe of the contemporary Japanese family, she focuses on a woman's identity as mother through mother-child and husband-wife relationships. Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. In a cogent metaphor for familial relations in the media-saturated culture of contemporary Japan, Mama can only communicate with her beloved, absent son through the video screen. Idemitsu's poignant irony is embodied in the scene in which Mama, blind to her husband's needs, caresses Hideo's video image. (Electronic Arts Intermix)
In Idemitsu's experiment using a video camera and monitor, the reflexive exercise looking into a mirror is swapped with the monitor, suggesting a reflection on the history of women's relationship with makeup.
A film made using a work of Cindy Sherman, expresses Idemitsu's free and easy sense of humor.
The psychosexual drama Yoji, What's Wrong With You? examines the identity of women as mothers in Japanese culture, through an Oedipal narrative of a skewed "family romance." When Yoji announces to his mother that he wants her to meet a new girlfriend, the mother's jealousy destroys the relationship. Idemitsu's signature device of using a television monitor within the domestic space works as a powerful metaphor for the ubiquity of the mother in Yoji's psychological life. Idemitsu's melodramas always articulate a double-edged irony: With no identity outside of her maternal role, Yoji's mother fastens onto her son, ultimately destroying him. Yoji himself is seen as emotionally stunted, unable to leave his mother or experience love for any other woman.
This film shows lofty sentiments with music by Aki Takahashi. Idemitsu’s mental images are beautifully and sensuously filmed; a mass of snails intertwined as if copulating in a group; scarlet petals; curtains swing in the wind.
At Yukigaya 1, 1974, film, 3 min, color. A comical mindscape, the film stars Sam Francis who was Idemitsu’s ex-husband.
The second part of a trilogy, Great Mother (YUMIKO) is a domestic melodrama that examines the cultural and familial role of Japanese women by tracing the psychology of a turbulent mother-daughter relationship. Yumiko, a rebellious young woman from an affluent family, encounters resistance from her mother, a successful career woman, when she becomes pregnant and marries. The mother is an icy, assured presence, seen only on a television screen as a superego who monitors Yumiko's behavior. The television becomes a powerful metaphorical device, underlining the disunity of the familial structure and acting as a psychological presence. As Yumiko's marriage deteriorates, her pain is juxtaposed with the banal rituals of her mother's life (instructing her subordinates at work, scrubbing the floor at home), an irony ultimately heightened by the viewer's awareness of the reflexivity of this drama-within-a-drama.
Whispering Light, 1985, film, 10:50 min, color In this emblematic personal film, light and shadow of plants is successfully constructed over the subjective gaze of the narrator who is working through her mother’s death.
Housewives who find faults in other women that they refuse to admit in themselves, gossiping about them as if it were none of their business. This work visualizes the concept of the 'shadow' as it manifests within everyday occurrences.