Ito, a film director with no money and no woman, is agonizing every night over a violent love affair he hears from a neighbor who has recently moved in. One day, his neighbor, Honda, comes to visit Ito. He had apparently eloped with the daughter of a yakuza and was asking Ito to hide her for him. Ito tried to say no to the dangerous offer, but the 300,000 yen was too much to resist, and he ended up accepting the offer...
Two wives who leave their husbands behind and go on a hot spring trip, and two husbands who play homosexual games because it's not fair for them to be the only ones enjoying it. In contrast to the wives, who warm each other's bodies with hot water and lesbian play, the husbands cool each other's bodies by facing each other naked on a dark table with a bottle of sugar. There is another couple in danger of getting married because their parents disapprove of their relationship, but these two also change their mind, saying that marriage is between them. The story focuses on the liberation and change of consciousness of these three couples, who audaciously kiss on the street to get warm, and rethink their love and freedom.
Currently in the spotlight of the media, a sexual clinic in Nishi-Shinjuku, Tokyo called "SEX Women's University" (president: Ikuro Nishikawa, chief professor: Happy Funatsu) is visited with a camera, and patients (male and female) suffering from sex are shown. This is a series of secret shots of the patient's sexual sensitivity enhancement treatment, featuring a young woman, a middle-aged couple, and a young couple. The SEX treatment by the director, the chief professor, and a beautiful nurse is a sight to behold.
Three bad high school students who are preparing for the graduation ceremony are caught up in a battle with Yakuza after encountering a Korean in Japan and Yuki Yappa who has been married to him. A youth adventure drama with a powerful depiction of "Japan" and "Asia" that emerges from various nationalities.
Parisian Rita Kato follows a letter from her friend Masao Sato to Tokyo, but discovers that a new tenant is already living at the sender's address, the slacker Takeshi, called Golgo after the contract killer protagonist from Takao Saitō's long-lived manga series Golgo 13. Apathetically, the two squats on each other for a few days until Rita sets off again and is bagged on the way back by the petty criminal Kiyomi in a stolen car. In the Tokyo swampland, the two meet Golgo again...
A lesbian teacher (Kanako Kishi) comes to Tokyo in search of her student (Ichiko Kamata), who has dropped out of high school and started living with a bomb-making terrorist (Takeshi Ito).
The story is about Nagatoshi, a handsome and sexy monk played by Kazuhiro Sano, who is struggling for the widow he loves. Foreshadowing the prophecy of the Great Kanto Earthquake, the film is a highly entertaining theatrical spectacle that depicts the human condition of a downtown area undergoing development and the efforts of men and women who rebel against it.
One day, Hitomi observes her classmate Eriko stealing lipstick in a drugstore and follows her home. The two young women get to know and love each other. While the withdrawn Hitomi believes herself and Eriko to be reincarnations of angel warriors who once fought demon armies, her emancipated and apathetic friend wanders through life between sex contacts with older men and fear of falling into a boring bourgeois existence. The different futures of the two soon lead to tensions.
A fugitive man and woman (Kawase, Kawana) come to an island to retrieve their son (Iwasaki), who the woman has given to a foster family, but the son's foster parents are policemen (Ito)... The suspense surrounding the retrieval of the son is made unusual by the location shooting on the vast and desolate Miyakejima Island and leads to an allegorical drama about the essential desires of human beings. This was Kawase Yota's first appearance in a Zeze film, and he has since become a regular actor. The title of the film at the time of its first release was Sukebe Tenkomori.
No Good Men follows Kumiko, a young and attractive woman that works at a travel agency, and moonlights as an insatiable, sex-hungry mistress.
A pink film with a horse.
It's horse breeding season at a ranch. Shinji, who works there, is a newlywed. He returns from his honeymoon and begins a new life on the ranch with his new wife. The ranch owner warmly welcomes them back. The ranch owner is paralyzed due to his wife's carelessness...
A man becomes obsessed with delusions due to his obsession with a woman he lost, and loses sight of reality. A girl he meets in a rundown entertainment district gently accepts the man's delusions. The only time the two, who seek each other as if to erase the boundary between self and other, feel reality is when they indulge in a dangerous game involving a time bomb... The audiovisual effects, calculated down to the smallest detail, such as the rain and humidity, the deliberate use of red in the color scheme, and the pop song the woman hums, contribute to the continuation of the conceptual story.
I am 21 years old and newly married to Yoshio, a junior high school teacher. To help pay off the mortgage on our new home, we decided to let Ikuyo—a colleague of Yoshio’s and an English teacher—rent the room upstairs, but...
Kana has been working as a prostitute since graduating from school, and eventually teamed up with a childhood friend to arrange prostitution for herself. Even now, she sends the two out to meet clients, and is even trying to get them to recruit younger workers. But one day, a rift develops in their relationship when her childhood friend steals money from her parents' house, claiming to be to open a shop..
In a hospital with a near sighted doctor, horny nurses, cosplaying patients and stiffs in the basement the only healing taking place is sexual.
My Girlfriend Wears an Uniform
A young wife dabbles in casual prostitution to secretly help her older husband improve his business. But when she falls for one of her clients complications ensue.
Hirusagari no joji: susurinaki
Wet and Crying: Based On Aiko Nakayama's School of Widows