Ryutaro Ninomiya

俳優のディーン・フジオカが企画・プロデュース・主演を務め、過去のトラウマを抱える男が孤独な少女との出会いをきっかけに狂気を暴走させていく姿を描いたバイオレンスアクション。アクション俳優の立石は社交性がない一方で日本文化に傾倒しており、周囲からは変わり者として距離を置かれている。一方、女子高生のアユミは祖父と暮らす土地を中国人ブローカーと地元ヤクザに狙われ、執拗な嫌がらせを受けていた。ある日、立石は偶然アユミを助け、アユミは彼になつくように。過去の撮影現場での事故によるトラウマから暴力に対するリミットをかけていた立石は、アユミを守るための相手への攻撃を肯定されたことで、抑えていた狂気を目覚めさせていく。「朝が来る」の蒔田彩珠がヒロインを務め、別所哲也、村上淳、プロレスラーの坂口征夫が共演。「トイレのピエタ」の松永大司監督がメガホンをとり、「合葬」の小林達夫が脚本を手がけた。

1999年、覚せい剤が原因で父親を亡くした山本賢治は、柴咲組組長の柴咲博の危機を救ったことからヤクザの世界に足を踏み入れる。2005年、ヤクザとして名を上げていく賢治は、自分と似た境遇で育った女性と出会い、家族を守るための決断をする。それから時は流れ、2019年、14年間の刑務所暮らしを終えた賢治だったが、柴咲組は暴力団対策法の影響で激変していた。

Tells the story of three bottom-dog boxers who gets used as punching bags. Pro boxer Suenaga Akira fell off the path to greatness but still tries to crawl his way to the top. Omura Ryuta is a youngster who grew up in foster care. Miyagi Shun, a TV celebrity with famous parents, takes a shot at boxing as part of a TV show. Three underdogs with very different back stories put their pride on the line as they exchange blows.

A four-part film done in the unique style of each director, Matusbayashi Urara gives a portrayal of a struggling actress named Machiko who lives in Kamata. Machiko is the central axis of the movie as the film comically depicts what it means to be a "woman" and an "actress" in society through showing the patterns of life as conducted by her and the people that surround her.

All the people surrounding her refuse to express their feelings and emotional boundaries. The resulting everyday life is characterized by ruthlessness: Even friends reduce each other to their appearance and shamelessly take advantage of each other. Minori runs against this by attacking ignorance whenever she encounters it, whatever the consequences might be.

All the people surrounding her refuse to express their feelings and emotional boundaries. The resulting everyday life is characterized by ruthlessness: Even friends reduce each other to their appearance and shamelessly take advantage of each other. Minori runs against this by attacking ignorance whenever she encounters it, whatever the consequences might be.

Ryutaro Ninomiya, 27 years old, lives a fairly simple life. He works at an auto-repair shop, reads books and drinks a few beers. One day, he receives a phone call from Yusuke, his childhood friend whose mother, Ryuko, is dying from Hepatitis C. Despite knowing for a while that Ryuko was sick, Ryutaro hasn’t visited her, but today he decides to go.

Ryutaro Ninomiya, 27 years old, lives a fairly simple life. He works at an auto-repair shop, reads books and drinks a few beers. One day, he receives a phone call from Yusuke, his childhood friend whose mother, Ryuko, is dying from Hepatitis C. Despite knowing for a while that Ryuko was sick, Ryutaro hasn’t visited her, but today he decides to go.

Ryutaro Ninomiya, 27 years old, lives a fairly simple life. He works at an auto-repair shop, reads books and drinks a few beers. One day, he receives a phone call from Yusuke, his childhood friend whose mother, Ryuko, is dying from Hepatitis C. Despite knowing for a while that Ryuko was sick, Ryutaro hasn’t visited her, but today he decides to go.

Ryutaro Ninomiya, 27 years old, lives a fairly simple life. He works at an auto-repair shop, reads books and drinks a few beers. One day, he receives a phone call from Yusuke, his childhood friend whose mother, Ryuko, is dying from Hepatitis C. Despite knowing for a while that Ryuko was sick, Ryutaro hasn’t visited her, but today he decides to go.

Shinji Imaoka, the director of “Waiting for you,” starred Ayane Suzukawa, a popular sexy idol, and a unique sensual drama depicting the struggle of a woman whose husband was kidnapped by a giant Tsuchinoko. The couple, Ichiro and Sonoko, are attacked by a human-sized Tsuchinoko in the mountains, and only Ichiro is taken away. Sonoko rescued by Tsuchinoko Hunter Kurikoma descends alone, but Ichiro's colleague Segawa cannot believe Sonoko's story. Eventually Sonoko goes to find the giant Tsuchinoko's den again to meet Ichiro.

何にも興味がなさそうでいいかげんな大学生・佐藤清高は、夏休みに自動車免許を取ろうと考える。ある日、清高は無免許運転のヤクザ・轟木に車でひかれ、そのまま車に連れ込まれてしまう。到着したのは非公認教習所。そこで清高と轟木が高校の同級生だったことが判明する。二人はクセ者ばかりが集まる教習所でひと夏を過ごすことになる。

Hyper-realistic, comic drama about a group of workers in a small Japanese vending-machine factory. The young men gossip in their grubby canteen about women and each other. In order to drive out the boredom, they play soccer on the colourless industrial site. The relationships do not entirely run smoothly: ‘senior’ employee Takahashi enjoys making his colleague Yoda feel every day that he is at the bottom of the ladder. Yoda barely reacts. In the meantime, Sakata, a cheerful kid, tries in vain to make friends with the taciturn Yoda. This ensemble film shows in a dryly comic way the everyday lives of these so very normal Japanese kids, who still have one foot in childhood, but need to make choices as adults. The director himself plays the lead of the charming Sakata, who closely observes his colleagues. As he does in the role of filmmaker: his clear gaze soon reveals how it all fits together.

Hyper-realistic, comic drama about a group of workers in a small Japanese vending-machine factory. The young men gossip in their grubby canteen about women and each other. In order to drive out the boredom, they play soccer on the colourless industrial site. The relationships do not entirely run smoothly: ‘senior’ employee Takahashi enjoys making his colleague Yoda feel every day that he is at the bottom of the ladder. Yoda barely reacts. In the meantime, Sakata, a cheerful kid, tries in vain to make friends with the taciturn Yoda. This ensemble film shows in a dryly comic way the everyday lives of these so very normal Japanese kids, who still have one foot in childhood, but need to make choices as adults. The director himself plays the lead of the charming Sakata, who closely observes his colleagues. As he does in the role of filmmaker: his clear gaze soon reveals how it all fits together.

Hyper-realistic, comic drama about a group of workers in a small Japanese vending-machine factory. The young men gossip in their grubby canteen about women and each other. In order to drive out the boredom, they play soccer on the colourless industrial site. The relationships do not entirely run smoothly: ‘senior’ employee Takahashi enjoys making his colleague Yoda feel every day that he is at the bottom of the ladder. Yoda barely reacts. In the meantime, Sakata, a cheerful kid, tries in vain to make friends with the taciturn Yoda. This ensemble film shows in a dryly comic way the everyday lives of these so very normal Japanese kids, who still have one foot in childhood, but need to make choices as adults. The director himself plays the lead of the charming Sakata, who closely observes his colleagues. As he does in the role of filmmaker: his clear gaze soon reveals how it all fits together.