“Trot Girls Japan” is an audition program that aims to crown the top diva by having contestants perform classic songs spanning the Showa to Heisei eras, covering genres such as folk tunes, mood songs, enka, group sounds, folk, new music, and city pop.

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Three stories, very different in space and time. Lysistrata, a dancer from ancient times, Jeanne d'Arc, medieval warrior and Elisabeth, American war widow who comes on pilgrimage in Italy.

A woman named Sini travels to Brazil to meet her sister Sissi, who previously broke off Sin's marriage. Sini meets Sissi's husband, Jorge, who tells her that she has disappeared. Sini sets out to find Sissi together with Jorge's servant Tiago.

In 1966, a girl group consults a spirit board to assist in their search for the perfect band name. Thanks to a little help from the spirit realm, they got one: THE DAUGHTERS OF EVIL. Unfortunately for them, they were also subsequently possessed by demons. Years later a youtuber stumbles upon their album and unravels their decades old mystery.

Three sisters ONI, AMBER, and KHADIJA are revealed to be the remaining of six daughters of Nefertiti whose names were changed to protect their identity, brought through the ages to battle a reptilian species disguised as humans who stole the early treasures of the great Egyptian Royal family.

A Florida newspaper owner's daughter gets involved with her father's archrival who uses this to bring down his business.

Tarnsai has the power of water, Plerngpit has the power of fire, Eurngsai has the power of earth/soil, and Wayuta has the power of wind. They found an old book in a cave when they were in the forest for a class fieldtrip. After they found it, they were in the process to learn how to use their powers. They accidently learned it through the dark forces with a dark master who taught them.

A young woman gets involved in a sex-and-death cult, and finds out that she is slated to be the cult's next victim.

John Hofsess’s The Palace of Pleasure emerged from the psychedelic haze of 1960s postmodern art. It was a blistering work that combined arresting abstract imagery with the wounded expressions of a young couple, edited into a collage of mass culture imagery and album and book jackets, all of it framed as a therapeutic treatment. Addressed to a generation coming up in an era of protest and social change, where many found themselves increasingly burdened with hopelessness, paranoia, and neurosis, The Palace of Pleasure was offered as a cleansing ritual, a post-Freudian expelling of dammed-up energies that anticipated The Primal Scream. In this video, Stephen Broomer discusses Hofsess’s therapeutic ambitions, how the film was composed of Hofsess’s earlier films, and the sensual spell of the work, the way in which it commands us to enter into a universal fellowship of touch that circulates, from us to us, through us, to strain the boundaries between the self and the other.