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FILM OF BIANCA CENSORI
SCENES
Wide-open ocean.
Izanami arrives from the sea. She has been washed up on the shore. A narcissus flower, purple-blue, seems to have miraculously sprung from the sand.
Scene 2
From the sea, we see the Hatoya Hotel at night. Architectural shots of the Hatoya Hotel.
POV of the driver of a car approaching in the dark. A woman is sitting in the back seat, her hair wet from the sea. She is wearing an oversized men’s black leather coat from WWII.
Through a hotel window, a bus pulls up.
Izanami arrives by car, dressed in black. The driver is a woman. The car stops at the hotel entrance; Izanami gets out, and a clerk opens the car door. At that same moment, from the parked bus emerges a procession of 30 women wearing men’s indigo kimonos.
Izanami’s gaze and the women’s gaze never meet. The women also
enter the hotel. But Izanami does not recognize her ancient playmates, perhaps because she is only dreaming of them.
The women ascend the escalators. Where are they going? They seem to have no destination.
Under the leather coat, Izanami wears a flesh-tone babydoll. Wet hair and shades, smeared mascara; she is in distress.
As she enters the hotel lobby, she locks eyes with the receptionist, a woman wearing black. There is no dialogue.
Scene 3
Izanami does not know which universe she has fallen into. She cannot grasp the boundary between her imagination and the reality she is living. She walks down the long, metaphysical corridor that leads to her room. Izanami reaches her room, lies on the tatami, dazed, staring at the ceiling in a dreamlike state, and falls asleep.
At the window appears an immobile enter the hotel. But Izanami does not recognize her ancient playmates, perhaps because she is only dreaming of them.
The women ascend the escalators. Where are they going? They seem to have no destination.
Under the leather coat, Izanami wears a flesh-tone babydoll. Wet hair and shades, smeared mascara; she is in distress.
As she enters the hotel lobby, she locks eyes with the receptionist, a woman wearing black. There is no dialogue.
Izanami seems to awaken from her dream. She rises from the bed, goes to the bathtub, and immerses herself in the purple water. The narcissus reappears. She slightly loses consciousness.
Scene 5
Izanami sees herself again among the women in the water of the spa, motionless, dreamlike. On the edge of the pool appears, for the third time, the Japanese woman, Demeter. She is mute, but seems to smile.
The water of the pool dissolves into the water of the sea from which, at the beginning, Izanami appeared; then it returns to being the water of a swimming pool.
Scene 7
A vast dining hall appears before her, with barred windows and closed doors: claustrophobic, with an elongated table among perfectly identical tables, aligned in strict, geometric order.
At the table sit the 30 women. Izanami once again sees herself among the other women: she sits at a table in the center of the room. The other women look at her.
She opens a pomegranate that is on the table with other fruits, with her hands, breaks it into two halves, and eats the seeds from the half in her right hand. She places the other half on the table.
Izanami senses that eating the fruit means accepting the pact, remaining locked inside. At the back of the hall, the Japanese woman appears; she is still the ghost of Demeter. Izanami does not see her; instead, she feels the impulse to flee.
The tablecloth is stained with pomegranate juice; the fruit seems like blood.
Scene 8
Izanami begins to understand her destiny. She walks back through the red corridors of the hotel like a labyrinth. The elevator opens and Demeter appears.
Scene 9
She finds herself once again in her room, but something has changed. Now she is surrounded by images that refer to the abduction of Persephone by the god Hades. The 30 women’s faces surround her, emerging from the walls. In each of them she sees a replica of herself. But none of them is truly Izanami.
Izanami sits before a mirror, puts on one, two, three, four different wigs, and in each image sees a possible self. Among the wigs there is also a white mask. Izanami puts it on, then removes it. Finally, she chooses a wig: long blonde hair.
Izanami is now at the entrance of the hotel bar, where a man is seated wearing her black leather coat. We cannot see his face; we see him from behind.
Izanami lets herself go into an intimate dance that gradually becomes more and more intoxicated and Dionysian. She senses she is struggling against a force she cannot resist.
The group of women are seated in the dark in the back room of the bar. From the darkness we see the faces of the women. Suddenly, Izanami finds herself together with the women who emerged from the dark: all of them run with her down the hotel corridors, but it is a tumultuous, blind race,
none of them able to find a way out, as when Persephone tried to flee from Hades as he abducted her.
Scene 11
Izanami sleeps, but she is not in her room. She is in a white, aseptic place, like a clinic. She is naked, still wearing the blonde wig, as if in a kind of funeral ceremony, a sacrificial rite.
A nurse enters; we see only their hands. They begin wrapping her body with white bandages that almost completely bind her.
Scene 12
Izanami is connected to the group of women in a limbo, as the central figure. Tears run down her face as they all fall.
Scene 13
Izanami awakens. The bandages have been removed; her body is still naked, changed, transformed. Her companions have disappeared, except for one who watches her: Parthenope, her favorite childhood companion, who follows her.
Scene 14
Izanami tries to exit the hotel, but she is unable to find a way out.
Scene 15
View of the sea. Izanami is still trapped inside the hotel. She is the queen of the underworld.
MOOD BOARD
© 2026 Stanley Jung