Hiroshi Sato

In this offbeat coming-of-age tale, a charming, rebellious high school dropout named Kanta befriends the kind, provincial Shoji. The two bring out the best in each other, each gaining confidence from their friendship - especially regarding pursuit of the opposite sex. The working class Kanta becomes a sort of unruly anti-hero, maintaining his pride, defiance, and self-assurance even as his prospects seem increasingly grim.

35-year-old Asuka works in a lakeside fish factory. She’s about to be married to her boss, Taki, but one day, she encounters a kappa – a water sprite found in Japanese folklore – and learns that the creature is in fact the reborn form of Aoki, an old crush who’d drowned when they were 17.

This surrealistic comedy follows the life of Haruo Maekawa, a young man who makes a living catching squid. Haruo is obsessed with catching a legendary giant squid rumored to live in Tokyo Bay. Haruo's uncle Takashi, fallen on hard times, comes to stay with his nephew until he can get back on his feet. Uncle Takashi is addicted to energy drinks, and seduces any woman in sight, including Haruo's girlfriend Rika. While praying at a Shintō shrine, Uncle Takashi is bitten in the scrotum by a poisonous snake and dies. The uncle is destined to spend the afterlife in Hell unless his nephew and girlfriend can rescue him from the King of Hell.

The 27th installment of the "Youth H" series, which employs cutting-edge filmmakers to create works across a variety of genres based on the twin themes of "youth" and "eros." Director Imaoka Shinji, in his third film in the series, depicts the tragic fate of an unlucky man. Hoshi (Arai Takashi) breaks into the room of Yoshie (Fujisaki Erina), a convenience store clerk with whom he has fallen in love at first sight. Surprisingly, she tells him it's okay as long as he wears a condom, so he goes to the convenience store to buy one, but with no money, he breaks into the house. However, he is discovered by a resident and stabbed.

Shiho (Ayane Ryogawa), a nurse, gets into an argument with her boyfriend Kenji (Takuya Sakurai) about having abnormal sex, and Kenji leaves the room. Cabaret girl Tomoyo (Minami Natsuki) is on her way to work when she is approached by a homeless man and stops to see her father, Takayuki (Tadashi Naito), who left his family ten years ago, leaving them in debt; office worker Yuko (Shoko Kudo) is at a loss in a park after her boss, Kondo (Yuya Takayama), with whom she had an affair, abducts her infant son. These three women with a history of their own meet by chance and hit it off. The girls, feeling burnt out, are at Tomoyo's behest.

The film tells the story of Aiko, a 35-year-old mute woman who works in a bowling alley, and her brief romance with Yoshioka, a younger man who works as a postal carrier. The two meet when Aiko accidentally knocks Yoshioka off his bicycle, and they have a sexual encounter soon after. Aiko begins preparing lunchboxes and giving them to Yoshioka at his workplace as a way of expressing affection, which she cannot do verbally.

A bar in Shinjuku 2-chome. Toru is the manager of this bar, but one day, the owner, Ishii, suddenly passes away. The bar is to close, and Toru receives a list of regulars from Takano, the accountant, and decides to start a journey to collect retirement benefits. Together with Kenichi, the bar's number one, they borrow Ishii's old car and set off to northern Kanto. First up is Sato, a company president with a foot fetish. Although married, he can't stop playing around with men, and whenever he comes to Tokyo, he requests Kenichi. In order not to let the people around him know, he gives Kenichi more money than the tab. Next is Yamamoto, a city council member in the local assembly. A born sadist, he likes to tie Kenichi himself or have a young bondage artist tie him up, and then watch it happen. Kenichi continues on his journey, but he has another goal: to meet Shouji, a man he used to date...

When he is hit by a car on the street, the young man Daikoku foresees the monster Demking appearing at the end of the century. In preparation for the coming confrontation with the Demeking, he organizes a modern-day Seven Lucky Gods composed entirely of antisocial people. This is a utopian epic that, despite the ridiculousness of the story, is the most powerful depiction of the motifs seen in the first two films, which attempt to play on the sense of apocalypse through unrealistic imagination, while staying within a tenuous sense of reality.