The Tale of Osamu Tezuka: I'm Son-Goku

Five stories, five maestros, five styles and one common denominator: maximum creativity. Studio 4°C, the coolest label on the planet, invites us for the second time to an exclusive reunion of a talents with a group film, full of freedom and ingenuity, that goes from Mahiro Maeda's classic anime, to Kazuto Nakazawa's intricate urban sketches, Shinya Ohira's bedlam of color and Tatsuyuki Tanaka's animated cyberpunk. And as if that wasn't enough, Koji Morimoto, the studio big boss, is charge of putting the icing on the cake with fantafabulous piece of abstract poetry that would make a VJ die of ecstasy. The party of the year.

As Nobita, Gian, Shizuka, and Suneo are making their own space movie, a fleeing bug-sized alien president makes his way to Earth, and needs the help of the kids and Doraemon to stop an oppressive dictatorship threatening his democracy.

Two tiny, aquatic humanoids search for their missing father, a boy battles a lethal allergy to eggs, and an invisible salaryman tries to become a hero.

Two recap specials that focus on Team Urameshi's matches in the Dark Tournament and four separate volumes focusing around one of the main characters; Yusuke, Kurama, Hiei, or Kuwabara.

In this OVA, Goku and his friends pose questions for the viewers about the Dragon Ball series.

During summer vacation Nobita picks up a small rocket containing Papi, a palm-sized alien president escaping rebels on his home planet Pirika.

Nobita and his friends find a portal to a mysterious resort filled with metal buildings. They soon discover that the person who opened the portal for them has an ulterior motive.

The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.

In the distant technological future, civilization has reached its ultimate Net-based form. An "infection" in the past caused the automated systems to spiral out of order, resulting in a multi-leveled city structure that replicates itself infinitely in all directions. Now humanity has lost access to the city's controls, and is hunted down and purged by the defense system known as the Safeguard. In a tiny corner of the city, a little enclave known as the Electro-Fishers is facing eventual extinction, trapped between the threat of the Safeguard and dwindling food supplies. A girl named Zuru goes on a journey to find food for her village, only to inadvertently cause doom when an observation tower senses her and summons a Safeguard pack to eliminate the threat. With her companions dead and all escape routes blocked, the only thing that can save her now is the sudden arrival of Killy the Wanderer, on his quest for the Net Terminal Genes, the key to restoring order to the world.

Ryo Saeba works the streets of Tokyo as the City Hunter. He's a "sweeper" and with his sidekick Kaori Makimura, he keeps the city clean. People hire the City Hunter to solve their dangerous problems, which he does with a Colt Python. When Ryo's not working on a case, he's working on getting the ladies, and Kaori must keep him in check with her trusty 10 kg hammer.