Masahiro Muramatsu

One summer day in her second year of high school, Aki sees her school's boys' baseball team playing in the Koshien (the National High School Baseball Championship), and unable to stand still, she sets her mind to start her own club. One day, Samejima, who used to play for the Japan University of Physical Education's women's softball team, comes to the school as a physical education teacher, and Aki goes to ask her to become the coach of the baseball team...

Compilation film featuring short works from directors Hitoshi Yasaki ("Short Cakes"), Yuki Tanada (scriptwriter "Sakuran," "Tsuki to Cherry"), Hiroyuki Nakano ("Stereo Future," "Samurai Fiction"), Masahiko Nagasawa ("Yoru no Picnic"), Masaya Kakehi ("Bijokan), and more for a total of 18 shorts. This time around the theme is "24 hours," where filming for each work must have been completed in 24 hours in order to appear in this film.

Interview with world renown cult director Shinya Tsukamoto. This interview will tell you how and when he started creating his own world of cinema exactly the way he thought it should look. Also he is an accomplished actor appearing in many films directed by other directors like Takashi Miike (Ichi the Killer). The interview includes very rare footage of never released films like "10000 Channels" his TV commercials and rare footage of live shows at the Kaijyu Theater in Tokyo.System

Kumi seems to have what seems to be a psychic ability herself to hear the voices of certain people even when they are far away, and carries out experiments to try to find her friends. Then two men, Satsuki and Minoru, arrive. Kumi, Satsuki, and Minoru struggle with their own lives while enjoying their secrets. The people they meet are also living their lives. The three meet again at the seaside late at night, and realize that they have become each other's dearest friends, and that their relationship is about to end.

Kumi seems to have what seems to be a psychic ability herself to hear the voices of certain people even when they are far away, and carries out experiments to try to find her friends. Then two men, Satsuki and Minoru, arrive. Kumi, Satsuki, and Minoru struggle with their own lives while enjoying their secrets. The people they meet are also living their lives. The three meet again at the seaside late at night, and realize that they have become each other's dearest friends, and that their relationship is about to end.

Kumi seems to have what seems to be a psychic ability herself to hear the voices of certain people even when they are far away, and carries out experiments to try to find her friends. Then two men, Satsuki and Minoru, arrive. Kumi, Satsuki, and Minoru struggle with their own lives while enjoying their secrets. The people they meet are also living their lives. The three meet again at the seaside late at night, and realize that they have become each other's dearest friends, and that their relationship is about to end.

Kumi seems to have what seems to be a psychic ability herself to hear the voices of certain people even when they are far away, and carries out experiments to try to find her friends. Then two men, Satsuki and Minoru, arrive. Kumi, Satsuki, and Minoru struggle with their own lives while enjoying their secrets. The people they meet are also living their lives. The three meet again at the seaside late at night, and realize that they have become each other's dearest friends, and that their relationship is about to end.

Kumi seems to have what seems to be a psychic ability herself to hear the voices of certain people even when they are far away, and carries out experiments to try to find her friends. Then two men, Satsuki and Minoru, arrive. Kumi, Satsuki, and Minoru struggle with their own lives while enjoying their secrets. The people they meet are also living their lives. The three meet again at the seaside late at night, and realize that they have become each other's dearest friends, and that their relationship is about to end.

Signals like the moon, streetlights like stars. The camera warmly captures the winter night roads, and the director's eye is also that of a director looking at two people who are more than friends but less than lovers. When Sakai chooses what is most important to him without hesitation, i.e. when he accepts the responsibility of loving her, the period in which she "had chosen" to leave him gives the story a deeper depth. A film that uses unrealistic motifs but depicts the birth of happiness in a sufficiently realistic way.

Signals like the moon, streetlights like stars. The camera warmly captures the winter night roads, and the director's eye is also that of a director looking at two people who are more than friends but less than lovers. When Sakai chooses what is most important to him without hesitation, i.e. when he accepts the responsibility of loving her, the period in which she "had chosen" to leave him gives the story a deeper depth. A film that uses unrealistic motifs but depicts the birth of happiness in a sufficiently realistic way.

Signals like the moon, streetlights like stars. The camera warmly captures the winter night roads, and the director's eye is also that of a director looking at two people who are more than friends but less than lovers. When Sakai chooses what is most important to him without hesitation, i.e. when he accepts the responsibility of loving her, the period in which she "had chosen" to leave him gives the story a deeper depth. A film that uses unrealistic motifs but depicts the birth of happiness in a sufficiently realistic way.