2010年、夏

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.

อินุยาฉะและเซ็สโชมารุ พี่ชายของเขา ต่างได้รับดาบจากพ่อหลังจากที่เขาตายไปแล้ว อย่างไรก็ตาม พ่อของพวกเขามีดาบเล่มที่สาม ชื่อ ซองกะ ซึ่งเขาปิดผนึกเอาไว้ เจ็ดร้อยปีหลังจากที่เขาตาย ซองกะก็ตื่นขึ้นมาและคุกคามการดำรงอยู่ของมนุษยชาติ ลูกหลานของปีศาจสุนัขใหญ่จะหยุดพลังที่ไม่อาจจินตนาการนี้ได้อย่างไร

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.

เมื่อเอาชนะศัตรูที่แข็งแกร่งที่สุดได้แล้ว อินุยาฉะและสหายของเขาก็เริ่มกลับมาใช้ชีวิตประจำวันตามปกติอีกครั้ง แต่ความสงบสุขของพวกเขาก็หายไปเมื่อศัตรูอีกตัวปรากฏตัวขึ้น คางุยะ เจ้าหญิงจากดวงจันทร์แห่งตำนานที่ประกาศตนว่าเป็นผู้วางแผนจะพาโลกเข้าสู่คืนพระจันทร์เต็มดวงชั่วนิรันดร์ อินุยาฉะ คาโกเมะ มิโรคุ ซังโกะ และชิปโปต้องกลับมารวมตัวกันอีกครั้งเพื่อเผชิญหน้ากับภัยคุกคามใหม่

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.

After literally swimming across the Atlantic Ocean, an Englishman takes a country trip across Canada on a railcar.

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.

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.