The story of a group of high school boxing team members who spend their days drinking, sailing and chasing girls, and who more often than not spend their nights getting into brawls. In particular, it focuses upon Tatsuya, a sullen young man, who falls in love with Eiko, a proud upper-class girl.
Noburo Nakamura’s film sees Yoshie Nogami work as a factory worker by day, while moonlighting as a bar hostess at night. Seduced by regular Eiji Kitami, she begins a passionate love affair, until Eiji’s demeanor changes and she is slowly forced into a life of prostitution. Living a life of despair, she eventually meets building engineer Fujii, who urges her to go straight and run away with him. But this swooning, tragic drama has other plans in store for her. A genuine rediscovery, The Shape of the Night is one of Japan’s great female-centered melodramas, to rank alongside those of Ozu, Imamura and Naruse.
Yuu Kamiya is an up-and-coming talent in Japanese show business. She is killed in a traffic accident. On the way to heaven, she gets a chance to transiently restore her body (to which mirrors and photos are insensitive) and comes back to this world. She starts new life as an average girl.
After the Japanese surrender to the U.S., ending World War II, the residents of a small fishing village feel great humility in the wake of the defeat. But some of the children — Ryuta and Saburo in particular — react with anger and confusion. Their uncertainty about the future is magnified when U.S. troops occupy the area and treat the villagers with kindness, adhering to Gen. MacArthur’s proclamation. Tensions ease, but profound complications still linger.
Okoma, a young lady working as a conductor with a bus company in Kofu Yamanashi, has an idea for her bus that could avert the dwindling number of passengers.
A landmark in African cinema, Souleymane Cissé’s film is set in the Malian empire of the 13th century and depicts the quest of a young son across the West African landscape to confront his father, a tyrannical magician. Although the film’s mythic narrative and arresting visual style lend it universal appeal, Yeelen’s use of Bambara, Fulani, and Dogon languages and its representation of power struggles across generations have been interpreted as a commentary on Malian politics of the postcolonial era.
A young girl named Mitsuki receives a ticket for a bus tour from her uncle. The tour appears to be normal (expect that everyone appears to be quite somber) but Mitsuki learns its true purpose. All passengers and the tour manager have a suicide pact to send the bus over a cliff so the families can collect the insurance money.
Two young individuals meet online and become interested in each other after e-mailing everyday. Secrets are confessed and the two finally decide to meet in person.