The United States of America, after the great success of Vietnam, Watergate and so on, have decided to expand their activities in Italy. Mr. Chips has chosen Eddie Mordace to open the Italian branch of the multinational American Love Company. So Eddie opens in Milan a small branch of the Company whose purpose is to comfort women. Eddie hires Simbad, Adone and later, when business starts to go well, Ugolino, a real Count, and Ivanoe, a raper, who becames the attraction of the House.

An innocent, pregnant prison inmate (Shirley Knight) becomes the bad warden's (Andrew Duggan) personal favorite.

A series of six plays about relationships.

暂无剧情简介

After Shuichiro moved to Tokyo, the Tanno family became completely female, including Mrs. Tanno, Shuichiro's daughter-in-law Manzuko, painter Takashiro Egi, Shizu Kazemaki, Mitsue Nanbu, an intellectual who works in a university laboratory, and an old woman.

Mariko, a housewife has become addicted to dating sites. Ayu, a high school girl, is forced into compensated dating and is embraced by a man who is the same age as her father. S&M dominatrix Jose, has a child, but she leaves him behind and suffers from loneliness... What answers do these three women desperately seek in order to survive?

It tells the story of eight women who came together at the "For Women" camp to turn a new page in their lives.

Japanese crime film

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.