「中出ししてくれませんか？」僕達はかくれ巨乳の文系女子に精子を搾り取られた 有栖いおり (2019)

Diane is a mysterious and lonely teenager. Sharing special bonds with her father Christian, she takes care of the education of her brother Marc. The arrival of Julia in the neighborhood, a charismatic and liberated young British woman, is going to disturb Diane’s daily life. Desperately willing to become an adult, Diane is going to live, for a semester, the most shattering experiences of her life. The more she gets close to Julia, the more she gets irresponsible, ignoring consequences and limits to her desires.

名門校高校に通う17歳の少女を主人公に描くフランソワ・オゾン監督による官能ドラマ。ドイツ人青年と海辺で初体験を終えたイザベルは、その後放課後にホテルで不特定多数の男たちを相手に密会を重ねるようになり…。マリーヌ・ヴァクト主演。

A mysterious visitor spends the night at an apartment belonging to a young engaged couple and their friend. Over the course of the night and the following day he sleeps with all three roommates and then disappears, leading to conversations about God, life and filmmaking.

Lady Wankers is directed by French photographer Frédérique Barraja whose controversial 2010 photographic collection, Les Branleuses, inspired the documentary and is featured throughout. Barraja says she was so surprised by the conversations she had with the models for Les Branleuses during the shoot, about things that she could not show in photographs, that she decided to extend the subject into a film. “The idea was to do research about why we have all these sex toys, and we talk about sex a lot but we don’t talk about masturbating. It’s about self-discovery," said Barraja. A whimsical, slightly risqué but also serious exploration of the taboo subject of female masturbation. See interviews from women of all ages about their own personal stories and practices. It also looks at the history of female sexuality, along with the marketing of the vibrator to women in the 20th century, as well as the tragic issue of genital mutilation and its disastrous consequences.

Dr. Crumb, a scientist who never liked to leave home, invented a way to see the world without leaving your lab. Using a stone extraterrestrial Crumb, his assistant and his two nephews Zoox: the beautiful Amanda and irreverent Guto, will make his house float through the world in search of adventures. The problem is that this stone has other special powers, can hypnotize people and open portals to other dimensions. To fall into the hands of a greedy French archaeologist, the stone eventually releasing four monsters creatures and muddled fleeing to different corners of the world. Now these monsters need to be captured before they destroy the main monuments of the world and the stone must be recovered before the archaeologist hypnotize them all.

Two schoolgirls, Hisayo Yoshida and Kanna Murakami, who are tasked with caring for their school's pet rabbits, are sweeping the cages and feeding the animals when Kanna cuts her hand, so Hisayo leaves her alone to go get bandages. (A prequel to the first version of Ju-on, 2000.)

The continuation of Joe's sexually dictated life delves into the darker aspects of her adult life and what led to her being in Seligman's care.

It is the late 1920s when six-year-old Yingzi and her family move to Beijing. As Yingzi explores the busy streets and alleys, she befriends a widow who, driven mad by grief, stands vigil at the entrance of her hutong, waiting for her missing daughter to return.

Wealthy high school girls are sent to a boarding school to learn proper etiquette. Linda Simpson stays out all night. She tells her roommate, Betty Fleet, that it was because she's planning to elope. Linda gets in trouble when the faculty finds out from a monitor's report submitted by reluctant Natalie Freeman, a poor girl attending on scholarship.

Sixteen-year-old Billie’s reluctant path to independence is accelerated when her mother reveals plans for gender transition, and their time together becomes limited to Tuesdays. This emotionally charged story of desire, responsibility, and transformation was filmed over the course of a year—once a week, every week, only on Tuesdays.

Emiliano looks at his life with the eyes of a film director, mixing the objective reality with the processes of the artistic creation. The story he is filming flounders with his daily life, until his world is trapped in the lens of his camera. Confused, always alone and in front of a screen, now become a transfigured reality, but at the same time a measurable, controllable and manipulable one, he listens in loop to a song: one of those songs you sing or repeat as a prayer and forcing you to remember, believe and convince yourself.

Sylvain and Pierre have been running from the law ever since a custody battle with their mother pushed their father Yves into hiding ten years ago. But now that they’re older, the two brothers are road-weary and eager to take advantage of the perks of young adulthood. When the authorities discover their whereabouts, they are forced to move yet again and Pierre, the elder, disappears. Alone with his father on an island in the Loire River, Sylvain meets Gilda: his first girl, his first crush, and the first stop on his way to “the good life” – his own.

For Shirin, being part of a perfect Persian family isn't easy. Acceptance eludes her from all sides: her family doesn't know she's bisexual, and her ex-girlfriend, Maxine, can't understand why she doesn't tell them. Even the six-year-old boys in her moviemaking class are too ADD to focus on her for more than a second. Following a family announcement of her brother's betrothal to a parentally approved Iranian prize catch, Shirin embarks on a private rebellion involving a series of bisexual escapades, while trying to decipher what went wrong with Maxine.

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Dr. Sigmund Wiston, along with the help of his trusty sidekick Billy, teaches the students of the 1950s how to put more excitement into self-loving.

Evangeline (Kat de Lieva) has left her sheltered upbringing to reinvent herself in college. As she begins to break out of her shell, she attracts the attention of a sociopathic fraternity leader (Richard Harmon) and his two cohorts. “Beaten and left for dead, Evangeline finds herself trapped in a supernatural nightmare, where she is caught between salvation and vengeance. But to save herself, Evangeline discovers she must make the most horrifying choice of all…

Girls at a Beijing High School in 1952 have dreams for China.

A man and two women are trying their luck in the red room in the countryside. The older (but therefore not wiser) Fred, freshly divorced as a kisser who still desires his ex, meets the self-confident Lucy, who feels called to explore the soul of men in her novels. She lives with her intimate friend Sibil in a Vorpommern house in the countryside. Fred decides to move from Berlin to the two women and try a ménage-à-trois. They get to know each other and themselves.

Marion is a 14 year old girl, on holidays at the sea. She is in conflict with her mother and family. She meets a man there, to whom she feels close. Back in Paris, she goes to see him again. For the first time, she is going to make love.

This poignant human drama is phrased as a "small sonata" in three movements -- a novel approach by director and writer Micheline Lactôt to tell the story of two teenage girls. In the first movement, Chantal (Pascale Bussieres) rides the same bus every day and slowly develops an infatuation with the bus driver. Their interactions are expressed through gestures and glances and facial expressions, but not words. Just as Chantal is getting old enough, and maybe courageous enough to actually say something to the driver, fate steps in and she loses her chance. In the second movement, Louisette (Marcia Pilote) hides out on a fishing boat and is discovered by a Bulgarian fisherman who treats her with kindness and consideration and they spend a special evening together -- without being able to speak a word in the other's language. In the third movement, Chantal and Louisette become friends, and as kindred spirits they share a sense of loss and hopelessness.