An elaborate screenplay and an orthodox direction that avoids waste. And the right technique and actors to support it. The staff of the Keio 8mm Cine Club put all their energy into this 8mm feature film. The performance of Oyama Saiko, an actress with a strong presence, is rare for an independent film.
Ryosuke Oki
Saiko Oyama
An elaborate screenplay and an orthodox direction that avoids waste. And the right technique and actors to support it. The staff of the Keio 8mm Cine Club put all their energy into this 8mm feature film. The performance of Oyama Saiko, an actress with a strong presence, is rare for an independent film.
Based on the factual case of a young man who broke into a nurses' home in Chicago, mutilating and killing several of the inmates, Wakamatsu's film is a precise, sad delineation of a particular aspect of masculine sexual consciousness.
Saya Suzuki is an ordinary employee working at a hotel. She falls in love with her elite boss Susumu Tsuge. Through their romance, Saya Suzuki grows as a person.
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.
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 huge sphere suddenly began to emit a mysterious spiritual wave to the Tengu City that should have regained its peace. A mysterious, beautiful girl showed up at the same time. Silently, what is her purpose to cast her line of sight to Shidou and the others? The real purpose is...?
Despite agreeing to an arranged marriage to a childhood friend, a successful businessman tries to track down a beautiful woman that he met at a Halloween party.
Kiyoha rises from the lowly courtesan ranks to the high class position of Oiran in the steamy red-light district of Yoshiwara. She is determined to stand on her own two feet and live life as she pleased.
Mr. Takazawa, an elderly invalid who is cared for at his home by Haruko, a young nursing student, is chosen by the Japanese Ministry of Public Welfare to test the Z-001, a computerized hospital bed with robotic features that allegedly displays more efficiency and skills than any human nurse, but Haruko mistrusts a machine unable to consider human feelings.
เรื่องราวเกิดขึ้นเมื่อ ฮิกิชิ เอนโด นักกายกรรมฝีมือดีในคณะละครสัตว์ที่ถังแตกจนต้องรับงานจากชายลึกลับ ที่ว่าจ้างเขาไปถ่ายรูประหว่างนักสืบโคโกโร่ กับ คู่หมั้นสาวสวย โยโกะ ฮาชิบะ แต่เอนโดกลับถูกใส่ร้ายให้นักสืบโคโกโร่และตำรวจ เข้าใจผิดว่า เอนโด เป็นจอมโจรยี่สิบหน้า เขาจำต้องหนีการตามล่าอันหฤโหดพร้อมพิสูจน์ความบริสุทธิ์ของตน และหาหนทางกระชากหน้ากากที่แท้จริงของจอมโจรผู้ลึกลับให้จงได้
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.