Akio Fujimoto

人気が減った都会の中、車を走らせるマナブとルー。 ルーは金を稼ぐために素人AVの撮影を行う事をマナブに打ち明ける。ルーはマナブから借りたビデオカメラ持って、撮影相手であるサクラと合流する。ルーはサクラと身の上話をしながら撮影を試みるが... マナブと同棲しているユウカは（インスタグラマーだ。）SNSでファンと交流し、自宅待機（STAYHOME）を日々呼びかけている。ユウカは外出を続けるマナブに不満を隠せない。マナブはユウカに秘密でとある中年男性と密会を続けていた。 久乃（ひさの）はルイと結婚している。ルイの会社は、大手飲食店のオーナーであるが、コロナ禍で自粛を強いられ、二人は会話の無い夫婦生活を送っている。ストレスを送る毎日を過ごす、久乃は人気インフルエンサーで若手実業家の先輩であるダイキの部屋に呼び出されるが… それぞれの人生が交錯する。そこに待ち受ける、彼らの運命とは? 隠すより現る、未曾有の現実。

Phuong, An, and Nhu are Vietnamese women in their early 20s. The three become illegal residents in Japan after escaping from their workplace as technical trainees. An contacts a broker to help them find work. The broker takes them to a fisherman's ice-covered hut where they can stay in exchange for labour. They are happy because, as well as finding a job, they have also doubled their salary. As they start their work, Phuong suddenly falls, stricken with severe pain. Worried, An and Nhu take Phuong to a hospital, but they are refused admission for not having an ID card.

Myanmar-based director Fujimoto returns after his documentary-like feature drama Passage of Life (JC 2018) with an affective, drama-like documentary. The local Zomi people of the Chin State in western Myanmar dig to recover the remnants of 30,000 Japanese soldiers who fell in the “Battle of Imphal” 75 years ago—a form of daily labor for the Zomi that is complicated by the fact that many Burmese people died in the battle fighting for the Japanese. In this Japanese-Myanmar co-production, Fujimoto trains the camera to unravel the multiple perspectives and consider the act of digging up bones as both a metaphysical and physical act of reconciliation.

Burmese boy Kaung and his family emigrated to Japan with the hope for a better life. They have lived in Tokyo for years, but never obtained a visum. The daily strain of their illegal residence eventually starts to tear the family apart.

北京に暮らす若い女性ココは、日本の洗練された都会的なクリスマスにあこがれて大阪にやってくる。しかし、たどりついたのは、想像していたメトロポリタンな日本とは遠くかけはなれた、雑多な繁華街の大阪・新世界。言葉の通じない異国の地で、ココはてんやわんやの騒動に巻き込まれていく。