Fields of whipping reeds that house an abyss. What emerges? The jazzy paranoia of Hikaru Hayashi’s percussive score jolts one from uneasy contemplation while the frame remains remarkably disciplined, the music allowed to do its job. We see patterns in the wind. There is movement there. And it is chaotic and hungry and wholly uninviting – an opening to the very embodiment of a most fearsome artifact, the Noh mask.