Japanese genre wunderkind Kenichi Ugana turns inward with Oscillation, a meditative work of existential body horror about silence, distance and the strange physical weight of loneliness.

In a quiet black-and-white world, a father and adult daughter live together in near-total emotional separation. They share meals, routines and the same house, but communicate through notes almost as much as words. Around them, other lives drift by with the same muted disconnection. Then the father’s body begins to change, and a dark liquid starts to seep from him, making visible the unease that has long filled the space between them.

After the wild genre energy of titles such as Incomplete Chairs, I Fell in Love with a Z-Grade Director in Brooklyn and The Gesuidouz, Ugana turns inward — revealing another side of his restless and unpredictable imagination.

Kenichi Ugana is a Japanese filmmaker whose work moves freely between horror, science fiction, absurd comedy, punk cinema and offbeat romance.

Since emerging in the early 2010s, he has built a prolific and unpredictable filmography that includes Visitors, Extraneous Matter: Complete Edition, The Gesuidouz, We Are Aliens and I Fell in Love with a Z-Grade Director in Brooklyn.

His films are known for their strange humour, bodily unease and refusal to stay neatly within genre boundaries, making him one of Japan’s most restless contemporary genre voices.