Hotaru

Oar and Miho, who live in a seaside town, go back and forth between each other's houses, and their parents are childhood friends. Oar, who was in charge of managing the canning factory, decided to go to Tokyo to receive training that looked ahead to the future. On the last night before the departure, Oar and Miho are fiercely seeking each other. The next morning, they talked about the future while walking along the beach and made a promise such as calling once a day. However, Oar who is worried about unfamiliar sales work and human relationships. Miho also discovers her father's illness, is exhausted by her nursing and long-term care, and she can no longer keep the phone once a day. Eventually, Oar was forced to leave the office after witnessing his boss's infidelity and being dressed in his embezzlement. Oars who cannot speak honestly cannot return to their hometowns, and they pass each other and become estranged.

Yuriko (Kotomi Asakura), who lost her only young daughter and divorced, became a dumb woman due to the shock. She then started a part-time job at a small lunch box shop in a provincial city where she had drifted. The owner, Sato, had a wife, Kazuko (Firefly), and a daughter, Kyoko (Rina Hatsume). It was a dumb relationship. There was a man in the store who had a dark shadow who came to buy two lunch boxes every day. Yuriko, who cares about the man, follows him, and she finds out that the man is making a woman named Maki (Kyouko Maki) prostitute in a truck parked in the open space she arrived at ...

1726, Sanchu, Okayama Prefecture: farmers negotiate with the feudal domain in order to seek exemption from rising taxes. Infighting leads to suppression by the samurai class, and the farmers band together for battle. It’s a moment of injustice, setting the stage for bravery and sacrifice. However those daring characters remain largely offscreen in Juichiro Yamasaki’s brilliant film. Instead, the cowardly protagonist Jihei (Naohisa Nakagaki) faces a crisis of the risks of rebellion and its aftermath that resonates with our contemporary moment. In this rare independent jidaigeki, Kenta Tawara’s beautiful digital B&W photography channels and refigures luminaries of classical Japanese cinema, boasting rapturous animated sequences by Tomomichi Nakamura and experimental score by Ayako Sasaki.

A boy who lives with his parents in Kyoto comes to Tokyo for a business trip and stays with his fuck buddy. They have no special plans for the five days together. They will go to work in the morning, come home, spend the evening together, and sleep. The first night when he arrives, the fuck buddy starts to have sex with him just as usual, but he is somehow unable to respond. In fact, he has been concerned about a certain thing since before he visits Tokyo.

After a happily married couple running a hot spring resort are awakened to their sadomasochistic desires, their relationship will never be the same.

복수의 밤이 돌아왔다! 만화원작으로 유명한 "사소리"씨리즈! 영화로도 제작되어 흥행에 성공한 "사소리"씨리즈의 최신 외전이 등장!!! 여죄수 감방에선 폭행만으로 끝나지 않는다. 나미는 연인사이었던 청년실업가의스기미에게 배신당하고, 의사인 구라타에게 강간 당한다.그리고 나미는 스기미의 한 쪽 눈을 찔러서 상해를 입히고 형무소에 들어간다. 형무소의 내부에는 흉폭한 다른 여죄수들이 있어서 나미를 눈엣가시로 여기고, 형무관은 나미의 사건에 돈 냄새를 맡아 구라타의 이름과 나미의 비밀을 알리려한다. 이 형무소 소장은 스기미와 통하고 있는데, 스기미는 형무소 내에서 나미를 죽이도록 지시한다. 형무관은 계획대로 나미에게 심한 노동을 시키게 되고 쓰러진 나미를 다른 여수들에게 죽이라고 시킨다. 그러나 일은 꼬이고 반대로 나미에 모두 당해버린다. 나미의 처리에 실패한 형무관은 해고되고 나미는 형무소를 탈주해서 복수를 위해서 스기미를 찾는데 ….

Kumosuke walks out on his pregnant lover, Fumiyo, and goes to see his old lover, Kiyoko. Even though Kiyoko's husband, Sachio and her sister, Hikaru think Kumosuke suspect, Kumosuke pretends to be Kiyoko's brother and stays in her house unconcernedly. One day, Kiyoko suffers from constipation and begs Kumosuke to suck out feces from her mouth. As Sachio gets jealous for being stolen his part of sucking his wife out, he does the same thing to Hikaru, which causes a collapse of the family. The meeting and parting of strange and sad people. Where the story heads to...

A highly contagious incest virus induces several generations of a Japanese family to have sex in all possible constellations and across gender boundaries – and with that man in a bear costume who suddenly appears? Only in Japan!

Chikan densha: Yume yubi de shiri meguri (痴漢電車　夢指で尻めぐり) is a 2010 Pink film directed by Yoshikazu Katō and starring Kaho Kasumi. It was named Fourth Best Film of the year at the Pink Taishō ceremony and Atsushi Tsuda was given an award for Best Actor. Kōsuke Komatsu was given the award for Best Screenplay, though the screenwriter is credited as Tsutomu Kondō.