A closed-room mystery where five women gathered in memory of a mysteriously dead female writer to unravel the mystery behind her death. Based on the novel of the same name by Riku Onda, directed by Tetsuo Shinohara.
Four years ago, an actress/novelist died of overdose. Since then, five women who were her friends gather around once every year to recollect her memories. However this year, they receive flowers with a strange message which insinuates that her death could have been a murder.
About a family shouldering an unexpected responsibility when Alzheimer's disease strikes their grandmother. The superb cast portrays this serious and realistic situation with heart-warming compassion, stressing the importance of empathizing with the victims of this difficult disease.
Tokico
Tomonori is a third rate model and very unhappy with her demeaning job of handing out leaflets. Unfortunately she doesn't have too many options. One day she gets drunk and starts a fight at a party where she is working.
Jina-sama (voice)
Марко Пагот, отважный пилот и герой Первой мировой войны, потерял веру в человечество. Это стало проклятием, которое превратило его в человекообразную свинью, и теперь Марко известен как Порко Россо. Порко занялся охотой на воздушных пиратов, грабящих суда и яхты, но однажды ему самому предстоит стать мишенью. Сможет ли он избежать преследования и вернуть человеческий облик?
Shigeko
Эйдзи Фудзино оставил карьеру служащего и открыл дешевую закусочную «Тёдзи», теперь все его зовут Тёдзи. Трудно понять, откуда у этого бывшего спортсмена так много терпения, выдержки и смирения. Многие годы он хранит в сердце тайну.
Original Music Composer
In 1972, Miyuki tells her ex-lover Kazuo that she's going to Okinawa with their son. Kazuo decides to film her. He narrates his visits to her there: first while her flatmate is Sugako, a woman Miyuki is attracted to; then, while she works at a bar and is with Paul, an African-American soldier. Once, Kazuo brings his girlfriend, Sachiko. We see Miyuki with her son, with other bar girls, and with Sachiko. Miyuki, pregnant, returns to Tokyo and delivers a mixed-race child on her own with Kazuo and Sachiko filming. She joins a women's commune, talks about possibilities, enjoys motherhood, and is uninterested in a traditional family. Does the filmmaker have a point of view?
