爆裂パチンカー・確変旋風 非情のドル箱ハンター Backdrop Blur
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爆裂パチンカー・確変旋風 非情のドル箱ハンター

Saeko, a woman with two faces, an office lady and a pachinko pro, seeks revenge against the pachinko company that speculated on the land in the orphanage where she grew up.

นักแสดงนำ

  • COCOLO

    COCOLO

  • Nao Suwon

    Nao Suwon

  • Naoyuki Chiba

    Naoyuki Chiba

  • Hiroshi Fujita

    Hiroshi Fujita

  • なかみつせいじ

    なかみつせいじ

  • Kazuaki Fukazawa

    Kazuaki Fukazawa

  • Shouzou Sakairi

    Shouzou Sakairi

เรื่องย่อ

Saeko, a woman with two faces, an office lady and a pachinko pro, seeks revenge against the pachinko company that speculated on the land in the orphanage where she grew up.

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Kimagure Orange Road: I Want to Return to That Day

Kyousuke and Madoka have finally arrived at the point where they are close to graduation and have to decide where they want to go to college. Naturally, they want to go together, so beside all the studying they also have to look for a proper college where they can enter both. Hikaru, still a year from graduating, wants to support Kyousuke as well and does that in her own way. But while she does that, Madoka feels jealous and tells her feelings to Kyousuke. And then Kyousuke has to take action to finally decide on the girl he loves.

Kimagure Orange Road: I Want to Return to That Day

6.9 1988
The Pornographers

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.

The Pornographers

7.2 1966