The Intertwining

Three aliens on an expedition to Sutherland, the most beautiful place on Earth, crash-land in Tateyama, Chiba. They meet Reimi, part-time manager of a local villa, and come into contact with human life.

The background to and depiction of a watershed battle in Japanese history, at Sekigahara in 1600, when Tokugawa Ieyasu's Army of the East defeated the Army of the West of Ishida Mitsunari. The story includes the intrigues and shifting loyalties of the various retainers, family members, and samurai.

There are two worlds in this house. One where a mother and daughter reside, and another where two women reside. The two worlds begin to cross, gradually disrupting the lives of those involved. What will happen when everything connects?

Sanae, who went to prison after failing to kill her ex-boyfriend six years ago, meets Kenta, a forest ranger, and gets married. Sanae and Kenta's married life takes a new turn when the wife of Sanae's ex-boyfriend appears. Sanae still can't forget her ex-boyfriend, and Kenta is having a hard time dealing with her.

When Hanako Yuino (Mieko Konya) was a young child, her beloved mother, Minazuki (Sachiko Kokubu), suddenly passed away. Too young to understand what had happened, she simply imitated her father Katsuichi’s (Toshikazu Nunokawa) tearful expression; yet, upon seeing the smoke rising from the crematorium chimney, she somehow began to grasp the reality of her mother’s death. Subsequently, Katsuichi abandons Hanako at the children’s home where his late wife had served as director. Watching the marionette show performed by the director, Yasunaga, Hanako is drawn into a world of fantasy and undergoes a dramatic transformation. Then, 18 years later— Hanako, who has grown up retaining her innocent heart, spends her days performing her own puppet shows for the children at the children’s home where she was raised. One day, however, a vague memory of her mother suddenly appears in a dream, and Hanako gradually finds herself tormented by the harsh realities of life.

The film consists of five films about Yamato in the post-COVID 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.

Sara and Ryo have been going out for 5 years. They take a trip from Tokyo to nearby Atami in November of 2017. Ryo is 28 years old and is getting ready for married life, but Sara isn't into the idea. More than antipathy to marriage, she resists the nebulous existence of the future itself.

September 20th. Sunny. I wonder if it bugs me so much because I can't see it. I've gotten totally obsessed with finding out what's inside that bump. It's all I think about on my way to school, in the bathtub, and when I'm trying to fall asleep at night. I mean, if I could just figure out what's inside that bump, I'm sure I could figure out lots of other things too.