Kumi Hyodo

In this black comedy the lives of a timid small-time printer and his young wife are turned inside out by the arrival of a stranger who moves in and takes over their world. Set in a village-like outpost in the heart of Tokyo, this is a wry commentary on Japanese xenophobia. Kiki Sugino heads a spritely ensemble cast.

Kako (Fumi Nikaido) is a female high school student. She lives at a restaurant run by her family in Kitashinagawa, Tokyo. Unexpectedly, Kako's aunt, Mikiko (Kyoko Koizumi), suddenly appears. Kako thought her aunt died 18 years ago. Her whole family is embarrassed by Mikiko's appearance due to a past incident caused by Mikiko. Kako is also irritated when Mikiko lives in her room. They spend the summer together.

Theatre 1 (Observational Film Series #3) is a feature length documentary, which closely depicts the world of Oriza Hirata, Japan's leading playwright and director, and his theatrical company, Seinendan. By depicting them, the film leads the audience to revisit fundamental but timely questions: What is theatre? Why do human beings act?

Saori is a high school student at a provincial city. She is a member of playgroup at her school. Yoshioka begins to work at the same high school as a new teacher. Yoshioka performed in plays when she was in college back in Tokyo. Saori, Yukko, Garuru, Nakanishi, Akemi decides to compete in a play competition. Their goal is to make it through the regional competions, but Teacher Yoshioka tells them their aiming low and that they should think about the national competition.

The film consists of five films about Yamato in the post-Corona period. Tominaga's "The Fourth Eye" depicts a bewildered father who is introduced to his stepfather by his estranged daughter; Kiyohara's "The Light of March" tells the story of a woman who becomes pregnant at a young age and tries to flee the town. Takeuchi's "Makie no Bouken" (Makie's Adventure), Yamamoto's "Ano Hi, Kono Hi, Sono Hi" (Ano Hi, Kono Hi, Sono Hi), about a city employee who goes around taking video letters for people who are retiring, and Miyazaki's "Eri-chan to Kumi-chan no Long, Mundane Day" (Eri-chan to Kumi-chan no Long, Mundane Day), about two people who have too much time on their hands to bury a time capsule in a forest on the outskirts of town.

Memories can be blocked, but they can also be invented. Psychology professor Eiko works with people who were traumatized by the 2011 earthquake and tsunami disaster. But the topic affects her more personally than she wants to admit. Narrative structures begin to intertwine, reality becomes ambiguous. Like a surgeon, SHINOZAKI dissects the human mind in this complex yet moving film.

Fukuura Koharu works at a child welfare office and plunges into despair overnight. Then she meets Daigo, a private-practice doctor raising his 8-year-old daughter on his own. She resolves to build a happy household, but things don't go as expected.

A teacher is sexually involved with an underage student. She visits her father's home and discovers a boy who's been kept as a sex slave. The teacher continues harboring the boy out of fear and begins to feel sexually attracted to him.