A Professional sniper, Ryo has executed so many missions with his partner, Narushima. But Ryo is caught in between a multitude of emotions, when he realizes that his newest target will be an old acquaintance of his.
Benny Watanabe
A hit man looks to protect the daughter of one of his victims against CIA assassins.
Nagisa, a high school girl who has been given three months to live. Without telling her widowed father where she is going, she sets out from the city to the small town where she was born. She recalls her childhood memories, and her love for Satoshi begins to grow stronger. However, she is shocked to discover that Satoshi is having an affair with Eriko, a married woman.
2003年6月。大学生の真中有人は偶然、中学生時代の同級生の相楽美音と再会した。美音は実は笛吹興産社長・笛吹音右衛門が妾に産ませた子であり、母親の死後に笛吹家に引き取られたのだという。
ここ数年の笛吹家は立て続けに不幸に見舞われており、かつて音右衛門に借金をした末に破産して自殺した音楽家・琴村弦三が「笛吹家を呪う」と言い残していたという。その呪いのためか、当主の音右衛門が一ヶ月前に海難事故で死亡していた。
有人は、岡山の別荘で遺産相続の話し合いが行なわれると聞き、美音のナイト役になろうと考え、その話し合いに参加すると申し出る。別荘は死んだ琴村のかつての家だった。この家の周りでは、全身を包帯に包んだ「謎の包帯男」に何度も襲われており、家人たちは面白半分に『琴村の幽霊』ではないかと噂していた。
やがて弁護士が遺言を公開するが、音右衛門の遺産は僅か400万円しか残っておらず、株の大半は副社長の鐘田に相続されることになった。しかも相続税が払えないのでこの屋敷は壊し、土地を売却するしかない状況であった。美音たちの兄姉は悔しがるが事実上打つ手が無かった。美音は何とかしようと、かつて音右衛門が話していた笛を探し回る。
翌日、鐘田が納戸のトランクの中で死体となって発見された。美音は犯行現場のコントラバスケースの中に、探していた笛を見つける。
警察が捜査すると、家にいた全員にアリバイが無かった。笛吹律が養っている芸術家・響木弾は、美音が琴村の弟子だったことを調べ上げ、お前が犯人なのは黙ってやるから体を差し出せと襲い掛かってくる。美音は必死で、「困ったときに吹くと一度だけ助けてくれる笛」を吹き鳴らすのであった。
Sugiura
『ピクニック』『砂漠の民カザック』『波』の奥原浩志監督が、スカラシップ作品として撮り上げた劇場デビュー作。ビリヤード場を舞台に、ミュージシャン河本と仲間とも恋人とも呼べそうなチャコの2人と、彼らが慕う中年男性との関わりを描いたドラマ。
Yûsaku Shigemori
女優を目指し、日々舞台の稽古に励む貞子。そんな中、劇団の看板女優が怪死を遂げ、次の公演の主役に新人の貞子が抜擢される。稽古場ではその後も怪現象が続き、貞子のせいだと噂が立つ。そんな貞子を音響担当の遠山だけがかばう。一方、新聞記者の宮地は密かに貞子の過去を探っていた。婚約者を貞子の母・志津子の超能力の公開実験で失った彼女は貞子への復讐に燃えていたのだ……。
Rei Aku
A police psychologist suspects her former lover of serial murders on the Tokyo subway.
Dai
古い因襲にとらわれた小村で、いとこ同志でありながら風習を破って一緒になった捨吉とスエ。だが二人が暮らす村も、近代化の波に飲まれて変わりつつあった。
This is Shuji Terayama memorial performance of The Hunchback of Aomori from 1983 (featuring Akihiro Miwa). Terayama gathered dwarfs, circus freaks, itinerant magicians, acrobats and untrained youth for his burgeoning troupe, Tenjo Sajiki. The troupe's premiere offering, written and directed by Terayama, was Aomori-ken no Semushi Otoko (The Hunchback of Aomori, 1967).
This is Shuji Terayama memorial performance from 1983.
The guardian of the house
A girl named O loves a rich, and much older man. She is subjected to a variety of humiliating experiences to prove her unconditional obedience to him in a chinese brothel. A poor boy sees her and falls in love with her. To get the money needed to sleep with her, he takes part in rebellious acts.
(segment "Kusa-Meikyu")
Three stories. A solitary sailor falls from his boat and washes ashore on a tropical island. While seeking rescue, he's found by a nearly naked woman who is playful and compliant. He decides to erase his signs of distress and remain on the island. What awaits? In the second, an adolescent searches for the words of a nursery rime he remembers bits of. His journey takes him into dreams, sexual awakening, and Oedipal fantasy. Third, a man of wealth in late-nineteenth century Paris hires a prostitute for the night. She's also cabaret performer and takes him to her room. He fears he's about to be robbed. What's her secret?
Akira
Akira is haunted by a "bouncing ball" song that he remembers his mother singing when he was a small child, and now on the verge of a sexually active adulthood, he wants to find the origins of the song. The young man ostensibly wanders into a time-warp in which aspects from his childhood and adulthood mix together. In this never-never land he comes across a beautiful woman/witch who is lost inside the labyrinth of her mansion, just as the young man is lost in the labyrinth of time — and on some levels, perhaps the labyrinth of his subconscious.
Oshi
高校野球の3塁手として活躍していたサード。友人のⅡBと女の子ふたりで、「どこか大きな町へ行こう」と話し合う。そのためにはお金が必要だと4人は売春を始める。が、ある日ヤクザにつかまったサードは傷害事件を起こしてしまい少年院へ入れられてしまう…。
Shuji Terayama and J.A.Seazer's phantasmagoric folk-psych-symph-prog-rock opera. Historical Tenjo Sajiki performance from 1978.
In this Borgesian satire on knowledge and technology, bibliophilic desire leads to the construction of a pedal-powered reading machine. Resembling a combination of gymnastic contraption, printing press and early cinematic apparatus, the machine’s purpose remains ambiguous. And like this machine, Terayama’s film connects his work in poetry, motion picture and graphic design by weaving together printed and projected, still and moving images.
An experimental short featuring people and nails.
The smallpox virus has created its own unique atmosphere in Terayama’s film where the skin of a bandaged adolescent and the surface of the filmic image are subjected to a bizarre ‘disturbance’ as snails cross the screen and nails are hammered into the skull of the ailing patient. Illness in this film is as much a psychic entity as a physical one and manifests itself in an array of theatrical tableaux from grotesque women rigorously brushing their teeth to a snooker game where the players in white face makeup behave like automata. A Tale of Smallpox uses a medical theme to chart the traumatic dream life of Terayama’s times, evincing deep-rooted concerns in the Japanese national psyche that hark back to the upheaval of Meiji modernisation and the devastation of World War Two.
