Yuki Aresa

After being used and betrayed by the detective she had fallen in love with, young Matsu is sent to a female prison full of sadistic guards and disobedient prisoners.

This is the story of a vagrant samurai – the solitary, savage and scrupulous Kiba – who arrives at a village to defend a beautiful, blind woman against a sinister plot. Her assailants then send against him another samurai, named Sana, who is without scruples. The fight between them will become personal, for the honor and love of the blind woman.

In the wake of the 1956 Prostitution Prevention Law, a young woman recently released from one of Japan's new rehabilitation centers struggles to build a new life.

Two women are ferried to a small prison colony on the remote and barren prison island, where they and their fellow inmates are forced to perform perilous slave labor along the island’s treacherous cliffs, overseen by both an unforgiving sun and a crew of abusive male wardens. Meanwhile, the arrival of a newcomer among the island’s administrators, a disgraced policeman who is also the son of Nagasaki’s governor, creates dissension between the officials that, along with an untimely outbreak of bubonic plague on the island, ultimately sets the stage for a daring escape attempt on the part of the prisoners.

A militant revolutionary group is torn apart by betrayal as its members descend into paranoia and sexual decadence.

Shocking scenes are revealed in the Nagasaki Women's prison.

This film focuses on Okatsu; the adopted daughter of a master swordsman. She is a master with a sword herself and her talents far overshadow that of her brother, and real child of the man who adopted her. Her brother unfortunately has a gambling habit, and it plunges the family into trouble when he loses a lot of money in a crooked dice game. After releasing he is unable to pay the debt he owes; the blame is shouldered by the father, who is killed, leading Okatsu on a path of revenge.

Two young people undertake a doomed summer road trip through Japan, which in turn reflects on the dissipating promise of 1960s counterculture and free love.