夕陽に赤い俺の顔 (1961)

An entomologist suffers extreme psychological and sexual torture after being taken captive by the residents of a poor seaside village.

Harvard graduate James Averill is the sheriff of prosperous Jackson County, Wyo., when a battle erupts between the area's poverty-stricken immigrants and its wealthy cattle farmers. The politically connected ranch owners fight the immigrants with the help of Nathan Champion, a mercenary competing with Averill for the love of local madam Ella Watson. As the struggle escalates, Averill and Champion begin to question their decisions.

伝説のジャーナリスト、故ハンター・S・トンプソンの自伝的同名小説の映画化。若きトンプソン自身をモデルに、プエルトリコで地元紙のフリー記者として働き始めたアメリカ人青年が、慣れない土地で繰り広げる悪戦苦闘と狂騒の日々を綴る。

デリケートな思春期の少年、少女の性衝動を描いたピンク映画。高校生の保子は大人のマネをしてセックスをし、誰の子かわからない子供を身ごもってしまう。友だちも皆、性には無知で……。

After yakuza boss Kurata dissolves his own criminal empire, a rival kingpin offers a position to Kurata's top operative, Tetsuya "Phoenix Tetsu" Hondo. When the fiercely loyal Tetsu declines, Otsuka taps unstoppable Tatsuzo the "Viper", a ruthless gun-for-hire, to assassinate him. As the Viper trails his target through the countryside, the agile Phoenix Tetsu grows concerned that one of his former associates has betrayed him.

A businessman with a disfigured face obtains a lifelike mask from his doctor, but the mask starts altering his personality.

瀬戸内海に浮かぶ小さな孤島に四人家族が住んでいた。千太とトヨとその息子たち、太郎と次郎だ。島には水がないので、畑を耕すためにも、毎日船で大きな島へ水を汲みに行かなければならない。子供たちは隣島の学校に通っているので、彼らを船で送り迎えするのも千太とトヨの仕事だ。会話もなく、変化のない日常が続いていた。しかしある日、太郎が高熱を出してしまう。千太は医者を探すのだが…。

刑務所を出所した村木は、賭場で少女と出会う。ある夜、彼は屋台でその少女と再会した。彼女の名は冴子。冴子はもっと大きな勝負があるところへ連れて行ってほしいとせがんだ。二人は大きな賭場へ行くが、村木はそこで、葉という男を見つけた。殺しと麻薬だけに生きているという葉は、賭けをしている冴子のことを見つめていた。

A budding gangster enthralls a freeloading young woman, soon taking advantage of her knack for hitch-hiking to rob middle-class, middle-aged men.

When two friends embark on a journey to Mexicali for a Birthday celebration, they soon realize their psychedelic shenanigans have taken a turn for the worse.

万引き常習犯の祖母、戦争犯罪人の父、ウサギを偏愛する妹。駄目な家庭に育ち、いつも家出を考えている“私”と恵まれた環境に身を置く“彼”。行き場のない鬱屈とした情熱を持て余した“私”は奇妙な人々と出会い、幻想と回想の入り混じった街を放浪する。

横須賀、ドブ板通り。水兵相手のキャバレーが立ち並ぶ一角で売春ハウスを営んでいた一家は、取り締まりで商売が立ち行かなくなり、豚の飼育を始める。そんなある日、幹部から死体処理を頼まれた元客引きの男は、世話をしている豚にその死体を食わせてしまう

Sadako, cursed by generations before her and neglected by her common-law husband, falls prey to a brutal home intruder. But rather than become a victim, she forges a path to her own awakening.

A man wanders into a seemingly deserted town with his young son in search of work. But after a bit of bad luck, he joins the town's population of lost souls.

米軍占領下にある終戦後の東京。焼け跡ビルを根城にするおせんを筆頭とした街娼の集団は、闇市を闊歩していた。唯一の肉親だった兄を病で亡くし、外国兵に強姦された少女マヤはおせんたちの仲間になることを決意するが、グループには厳しい「掟」があり…。

太陽族の滝島夏久はまだ純真な弟・春次の初恋の女性・恵梨を奪う。やがて心の中にあった兄弟への愛情の均衡も破れ、恵梨は夏久の強靭な肉体に強く惹かれていった。恵梨と夏久の全ての出来事を知った春次は、憑かれたようにモーターボートでヨットの二人を追った…。

In a small Mississippi town in 1916, an eccentric spinster battles her romantic yearnings for the randy boy next door.

Pettaikaaran is famous in his town for an impeccable track record of successes in rooster fights. When one of his aides, Karuppu, goes against his word in a fight, it leads to an enmity between them.

Kiroku boards with a Roman Catholic family and falls for the daughter Michiko. He ignores his feelings, joins a gang, gets in fights and, eventually, becomes involved with the radical Kita Ikki group.

Nagisa Oshima’s most personal film is a reflection by the director on his own disillusionment with the revolutionary student movement of the 1950s and the failure of political radicalism. Taking its title (as a reference or homage) from Alain Resnais’ pivotal 1956 documentary Nuit et Brouillard, the film has a group of former student revolutionaries who meet again years later at the wedding of one of their classmates. Old feelings, rivalries and grudges gradually erupt to the surface as the one-time friends recall the various treacheries by which their cause was defeated. Cutting between times past and the present, and unfolding the action from each of his characters viewpoints, Oshima creates an abstract and yet engrossing study of passions past and principles eroded. —Yume Pictures