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Short animated film by Tadanari Okamoto

An examination of the art of pottery through the works of two world renowned potters –Bernard Leach and Shoji Hamada. The film traces the entire process of pottery making, beginning with the digging of clay and its preparation, and on through the long sequences of pods being thrown on the wheel.

This is the second volume of a ghost story TV series presented by Nobuo Nakagawa, Saburo Endo and Teruo Ishii. Contains films 5 to 8 in the "Mysterious Thirteen Nights" series.

A feminine crossdresser explores their sexuality.

Charles Heung does battle with ruthless triads during the early years of the republic

Mun-ho takes Jeong-hw for a prostitute and is very rude to her on a public street. Despite this, Jeong-hwa, who is actually very innocent, falls in love with him.

A young swordsman is sent to the city of Lo Yang to help his father's benefactor Inspector Chang from the four monsters-which are causing him a lot of grief. Four of the most violent martial artists in China.

Taiwanese horror film.

Sequel to Lucky Seven (1970)

During the Japanese colonial period, Jinho, a Korean student, marries Sakiko, the daughter of Japanese army colonel Fukube. When it is revealed that Jinho is Korean, Fukube assigns Jinho to a unit in North Manchuria. In response, Jinho escapes from his unit and hides in the mountains with Sakiko.

At Nemunoki, children and young adults with physical, intellectual or familial difficulties are gently encouraged to discover and develop their talents through such activities as painting, music, tea ceremony and dancing.

Tan Tao Liang plays a man who goes to retrieve his brother (played by Mang Fei) from a war torn area. He finds him, only to have to escape the area with a group of other refugees to a tropical island. Meanwhile Ramon Zamora plays a man tracking down his missing fiance, who happens to be with Meng Fei's character; but a greater conflict threatens the well being of the refugees, and Tan, Meng Fei, and Zamora have to fight together to eradicate the menace.

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Thai horror film.

A stop-motion puppet animation adaptation of the fairy tale Beauty and the Beast.

Pink film directed by Mamoru Watanabe.

Two Stories “Water” kicked off with the Cantonese tune of Raindrops Beating on the Banana Leaves, a symbolic hint on the tragic outcome of the drama – a demonstration of Joyce's astute use of music. When a kind, gullible mother-in-law and her rude, strong-willed daughter-in-law separately encounter the same con-artist, the result is high drama.

Pink film distributed by Toei.

Hong Kong Diaoyutai Movement (1971) documents HK youth protesting the U.S. decision to transfer the disputed Diaoyu Islands to Japan alongside Okinawa's return. The protest joined the transnational Baodiao movement, launched by overseas Chinese students in America and taken up across Taiwan and Hong Kong in defense of Chinese territorial claims. The film was produced by 70s Biweekly, a radical publication that served as a crucial platform for political debate among young Hong Kong intellectuals. Co-founders Ng Chung-yin and Mok Chiu-yu, who organized the demonstrations themselves, commissioned directors Law Kar and Chiu Tak-hak to create a documentary from inside the movement. The camera moves with the protesters, capturing chants, gestures, and surging crowds as they unfold. This approach transforms cinema into a tool of activism—the filmmakers weren't documenting history but participating in it, positioning the camera as part of collective action rather than a neutral observer.

The G.O.D. Organization, a new syndicate even greater than Satan Organization and Desmoron, plan to drain Hong Kong's freshwater supply to show the world that they can destroy the human race. At the same time, they plan to attack Dr. Guo Dong and his son, Qian Da-Long, who is killed by them. In an effort to revive him, Guo Dong transfers his energy and life to his son to transform him into Super Rider X. Qian meets the other Super Riders and they begin a last fight to destroy the leader and minions of G.O.D.

Pink film by Satoru Kobayashi.

Hong Kong movie

Japanese independently-animated short.

Comedy/romance film from Hong Kong and Taiwan.

Lee, Seon-ok is murdered while her husband is performing in a play. Detectives investigating the case, learn that their are several reasons why someone might want him dead.

The plot of Golden King is not currently known, which is partially because the film's poster describes the plot only as "Hot stunt action! Heart-wrenching plot!! Innovative ideas! Fantastic story!!" with not even a basic synopsis of the plot included.

A successful lyricist, Sakumaki (Yukio Ninagawa), lives with his partner Kazue (Keiko Fujita) and their daughter, though he has always kept an emotional distance from them. One night, he returns home to find a mysterious woman in black (Yuko Kusunoki) waiting in his apartment. She calmly tells him that he will die the next night at precisely 12:13 a.m. Shaken, Sakumaki flees, only to discover the same woman appearing wherever he goes. As her presence grows more menacing and unexplainable, his fear spirals into paranoia. Directed by Toshiya Fujita, the episode blends domestic drama with supernatural dread, blurring the line between hallucination and reality. With Ninagawa in a rare starring role, supported by Ichiro Zaitsu and Akira Nagoya, the story pushes its protagonist into a psychological nightmare where fate, guilt, and obsession collide.

After exacting revenge on the people who killed his father for his involvement with the 1940's independence movement, Park Dal visits his father's friend, Reverand Hwang, and becomes convinced that he should carry on in his father's place.

One of Ann Hui's most admired works for the small screen, The Bridge examines a complex web of bureaucracy, vested interests, disillusionment and grass-roots campaigning. The title refers to a footbridge closed for demolition by the government, effectively cutting the main route to and from a roadside shantytown and triggering further local issues.

A lonely man in Tokyo. Friendly gestures from strangers and sudden encounters with old friends are the only pillars available for the man about to slip into the abyss of absolute loneliness.

Pink film directed by Kôji Wakamatsu.

Jintara and Bussaba were best friends but later become stepsisters since their widowed parents decided to remarry. Not only their status but also their relationship, Jintara shows her true colors, trying to possess everything Bussaba has, including her man.

Dramatization of the life of blind musician ABing (Huà Yànjūn).

Pink film directed by Satoru Kobayashi.

The Northern and Southern Champion swordsmen discover the Tartars have murdered their families and the only thing on their minds is revenge.

Linda, an escort girl at the Bar 21 was an eye witness of a murder case committed by Thanong's brother. Thanong was the guy she was having a good feeling with him. She was then brought to a situation which she had to make the decision.

The events that take place on a city bus taken daily by workers, students, intellectuals, housewives and schoolchildren are depicted, and the lives of the two conductors, a hard-working young woman and an impatient and lazy man are contrasted.

Blending psychedelic animation with haunting music. Centred around a black cat, it explores themes of misfortune and the uncanny through dreamlike visuals and Maki Asakawa’s melancholic song, "Fushiawase to Iu Na no Neko".

Pink film directed by Shinya Yamamoto.

Experimental short made by Terry Tong in 1976. Taking the form of chess animation, the film is accompanied by a Chinese musical score of the same title. It expresses the confrontation and antagonism between two armies.

Flourishing

This short documentary portrays Chang Yingwu (1921–1984), a man whose extraordinary body became a site where medicine, spectacle, and state power intersected. Born in Beijing and later relocated to Taiwan, Chang lived with acromegaly, reaching a height far beyond ordinary human scale. Once exhibited, later enlisted, and eventually turned into a public figure through sport and media, his life traces how an anomalous body is disciplined, displayed, and normalized by social institutions. Filmed with restraint rather than sensationalism, the work observes Chang’s daily gestures and silences, allowing his presence to expose the fragile boundary between individuality and social gaze.

Hye-yeong, now a financial success, returns from Germany to visit Shin-ho and his wife. She finds them in anguish over their son, Yeong-gyu, who was crippled in a recent fall. Hye-yeong pleads with the stubborn parents to allow her to take the boy to Germany for surgery.

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