2010, Summer

A young Japanese woman named Yoko finds her cautious and insular nature tested when she travels to Uzbekistan to shoot the latest episode of her travel variety show.

Subu makes pornographic films. He sees nothing wrong with it. They are an aid to a repressed society, and he uses the money to support his landlady, Haru, and her family. From time to time, Haru shares her bed with Subu, though she believes her dead husband, reincarnated as a carp, disapproves. Director Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend’s obsession. Imamura’s comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time.

A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.

Inuyasha and his brother, Sesshomaru, each inherited a sword from their father after his death. However, their father had a third sword, named Sounga, that he sealed away. Seven hundreds years after his death, Sounga awakens and threatens mankind's very existence. How will the children of the Great Dog Demon stop this unimaginable power?

Itinerant masseur and master swordsman, the blind Zatoichi, is near the village of his teacher, Hikonoichi, so he decides to visit. He learns of Hikonoichi's recent robbery and murder and the imprisonment of his virginal daughter, Osayo, in a brothel. Through friendship with Denroku, a local dice thrower and devoted father, Ichi uncovers an unholy alliance between the governor and the area strongman: among their scams is falsifying tax records to put farmers in debt, then forcing their daughters into prostitution at the boss's brothel. With help from Denroku's daughter, Otsuru, Ichi comforts Osayo until he can provoke showdowns with the villains and their henchmen.

Tokyo schoolgirl Hiromi and her friends engage in a practice known as enjo kosai, or "compensated dating", where older men pay young girls for dates. Hiromi plunges deeper into this world to raise money for an expensive ring.

With their most formidable foe vanquished, Inuyasha and his comrades begin returning to their everyday lives. But their peace is fleeting as another adversary emerges: Kaguya, the self-proclaimed princess from the Moon of Legend, hatches a plot to plunge the world into an eternal night of the full moon. Inuyasha, Kagome, Miroku, Sango and Shippou must reunite to confront the new menace.

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.

A director faces creative block while working on his latest film – a reimagination of his adolescence growing up in a mountain village in rural Japan.

When young protege Akira Kageyama is bitten by his dying vampire boss, Genyo Kamiura, he must get used to his new powers before seeking revenge.