Reisen Ri

A fictional account of the life of Japanese author Yukio Mishima, combining dramatizations of three of his novels and a depiction of the events of November 25th, 1970.

Following her successful prison break, Scorpion begins this third episode in the series hiding out in a brothel. Her prostitute friend tries to keep her identity secret, but the brothel's madam discovers that Scorpion is the ex-girlfriend of the vice officer who killed her lover.

In Tokyo's Shinjuku district, the lives of a young man prone to theft, a young woman he meets at a bookstore, and a kabuki actor intersect.

Mushi are beings in touch with the essence of life, far more basic and pure than normal living things. Most humans are incapable of perceiving Mushi and are oblivious to their existence, but there are a few who possess the ability to see and interact with Mushi. One such person is Ginko who travels from place to place to research Mushi and aid people suffering from problems caused by them.

A disabled child of separated parents gets caught up in police espionage due to his uncanny ability to remember license plate numbers.

During the Vietnam War, an American G.I. deserts his base in Japan and escapes to Tokyo with the help of his Japanese bar hostess girlfriend. In the capital he gets involved with an anti-war organization while dodging the military police.

A set of twins -- one a hard-working student and the other a drifter -- team up with a dropout to unlock the secrets of the universe and to build one of their own.

Yusuke was a middle school teacher. but he quit his job due to problems with student bullying. After he quit, Yusuke learned that the bullied student committed suicide. Yusuke is now at Hotel Kopan to escape from everything. He keeps to himself and works as an employee at the hotel. The owner of the hotel is Sakuragi who wishes the hotel could return to its glory days during the Nagano Olympics. One day, a flurry of guests arrive at the hotel which makes Sakuragi ecstatic. Sakuragi decides to hold a party and invite the guests at his hotel. One of the guests is the mother of the student who committed suicide. Yusuke is distressed all over again. When the party begins, the guests talk about the problems they have.

Two yakuza, one of whom frequently reflects on an uncomfortable past taking advantage of Korean women, meet a stowaway on Japanese soil from across the Genkai Sea.

When poverty-stricken Korean-Japanese (Zainichi) discover there is valuable iron ore in the rubble of a destroyed shantytown they plan to haul it out for profit. Amidst this plan there is discrimination, war and an infatuation between a man and a woman, but like everything around them there and owing to the forces around them, there is as much chance that these may burn to ashes and be destroyed or be the beginning of something new.

A poor village in the Tohoku area has a law that states when a resident becomes sixty years old, they must move to the place called Warabino, far away from home.

A Japanese boy in love with a girl of Korean origin must battle the prejudices of those around him in order to sustain the relationship.

The sad story of Toshiko Ono, an innocent woman who turned into a prostitute after being sexually assaulted by American soldiers.

Having spent her childhood in Dalian and Harbin in the former state of Manchukuo, Taeko Tomiyama carried within her the conviction: “As an Asian, as a woman, I will begin from the margins of beauty.” Noriaki Tsuchimoto, on the other hand, directed numerous films related to Minamata disease. He confronted the suffering of pollution victims head-on, continuing to convey the harshness of life with unflinching clarity. In an interview, Tsuchimoto once remarked: “Within Tomiyama’s narrative world lies something that could be called her eros, her utopia, her aesthetics of liberation. Why does she persist in creating such dark lithographs on the themes of Chikuho and Korea? And how is it that, while doing so, she can also simultaneously depict a world of such beauty?” This film not only reveals the allure of the lithographs themselves, but also centers on the dialogue between Tsuchimoto and Tomiyama. It is a portrait of two comrades, earnestly pursuing the meaning of artistic expression.

Daisuke Ogaki, who ran away from home 11 years ago, returns to his mother Tsuru. Tsuru takes out her accumulated anger of 11 years on her son, but he says he wants to show filial piety...