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Famous movie actress Nami is being interviewed by a magazine reporter about her new film in which the plot resembles her real life. Her actor husband Yosuke has an affair with a young actress Junko whereas in the movie, Nami acts as an actress whose husband has an extramarital relationship with a young girl, with Yosuke as the husband and Junko as the new girl friend. In the course of the interview, Nami falls into deep thoughts and flashbacks about her lascivious encounters with strangers in a night train, in the movie as in the reality. Despite whether her intention is to revenge her husband or to satisfy her own desires, Nami demonstrates bewitching charm in a series of intercourse with different men, positions and locations. Director Takashi Ishii attempts to explore female sexual psychology through perfect blends of aesthetic nudity and violence.
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The wealthy president of a company has built up an unpayable debt to a local crime lord, and to escape punishment he sells his famous dancer wife to the lecherous old man figuring a 90 year old can’t do too much bad with her. Perhaps not, but others can while he watches. She’s put on stage in an underground BDSM sex show and begins a spiraling decent from strongly independent woman to submissive sex slave
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Magazine reporter Saeko Kawamura receives a message on her answering machine from her friend Yuka asking for help... when Saeko goes to Takamatsu in Shikoku to find Yuka, she runs into journalist Ogata!
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The story follows Muhan, the female assassin introduced in 1985's Dream Crimes, who was originally based on Takashi Ishii's manga character (unlike in the movies, she's primarily a mahjong expert in the manga). After Muhan fails to kill a young girl during a hitjob, she begins to question her existence.
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While trying to search for her missing father, Atsuko Moriya (Noriko Watanabe) meets a group of outcasts that help her. Having only an encrypted disk in her possession and while being chased by unknown people, Atsuko tries to solve the mystery of her family origins...
