Kensuke Ashihara

Ryota is an unpopular writer although he won a literary award 15 years ago. Now, Ryota works as a private detective. He is divorced from his ex-wife Kyoko and he has an 11-year-old son Shingo. His mother Yoshiko lives alone at her apartment. One day, Ryota, his ex-wife Kyoko, and son Shingo gather at Yoshiko's apartment. A typhoon passes and the family must stay there all night long.

Nobody knows where they came from. They parasitize in human beings, take control of them and change their bodies into hideous monsters (Necro-borg). The Necro-borg fight each other until the other dies. Where did they come from? To what end? Yuji and Kaoru, whom both have dark secrets within themselves, get caught up in the horrific battles of Necro-borg. What will their fate be?

Tragedy begins with curiosity. The on-line killer website broadcasts scenes of death in real time. Viewers are drawn to the website through curiosity, and then are shocked by what they see. Against their will, random viewers are selected to enter the killing game. It is literally a life and death situation to survive in this cruelest of spectator sports.

While inspecting a wharf, young Amano, president of an urban planning company, meets beautiful laborer Takako and falls in love at first sight. However, she does not return his affections, so he steals her ID card and goes on the run from the infuriated Takako.

Suzuki Rara is left behind in the countryside due to mischief. She becomes a YouTuber, goes both crazy and offbeat. Wearing an eye-patch, loose track pants and often holding a sledgehammer she begins interacting with the locals, families and visitors.

Kou created songs and uploads them to the Internet, and Yuka and Saki enjoy his music as fans, always listening with deep interest and admiration. Their final summer vacation has begun as junior high school students.

In a story told straight and with restraint we watch Naoko Hanami. She quit her job to look after her dementia-stricken mother Kiyo while the health of her father, Eiji, worsens with age. Struggling alone, she presents a stoic face to the world, too quiet and maybe too scared to speak up for herself. Finally, she turns to the city office to apply for welfare which is where caseworker Munemura, a genuine and sympathetic person, starts to investigate Naoko to see if she qualifies for help.

Hyper-realistic, comic drama about a group of workers in a small Japanese vending-machine factory. The young men gossip in their grubby canteen about women and each other. In order to drive out the boredom, they play soccer on the colourless industrial site. The relationships do not entirely run smoothly: ‘senior’ employee Takahashi enjoys making his colleague Yoda feel every day that he is at the bottom of the ladder. Yoda barely reacts. In the meantime, Sakata, a cheerful kid, tries in vain to make friends with the taciturn Yoda. This ensemble film shows in a dryly comic way the everyday lives of these so very normal Japanese kids, who still have one foot in childhood, but need to make choices as adults. The director himself plays the lead of the charming Sakata, who closely observes his colleagues. As he does in the role of filmmaker: his clear gaze soon reveals how it all fits together.

Years after retiring from their formidable ninja lives, a dysfunctional family must return to shadowy missions to counteract a string of looming threats.