娘を愛するがゆえに狂気へと向かう両親の姿を描いたホラーの完全版。満月が近付くたびに人肉を食べなければ生き残れない女・直子。母はそんな娘のために獲物を探し、父は良心の呵責に苛まれていた。『鬼子母神の子守唄』と『~愛梨』の2作品を収録。 　　【INTRODUCTION】 　　あまりに悲しく切ないホラー 　　■『鬼子母神の子守唄』とその続編『鬼子母神の子守唄 愛梨』二本を同時収録による完全版。美少女ホラーの決定版 　　『鬼子母神の子守唄』(47分) 　　何一つ不自由のない幸せな家庭のたった一つの、そして、けして人に知られてはならない秘密。犬神家の一人娘・直子は満月が近づくと人肉を食べなければ生きていけなかった。母は月に一度、愛する娘のための餌食を探す。しかし、良心の呵責に苛まれる父はこの生活に終止符を打つことを決断する。呪いをかけられた少女『直子』の物語。 　　『鬼子母神の子守唄 愛梨』(35分) 　　人里離れた山道を一人歩く少女、愛梨。そこへ襲い掛かる強姦。たまたま通りかかった男、沢田に助けられ、彼の車に乗るのだが、さらに少女に危険が待ち受ける。呪われた運命に翻弄される少女のせめてもの抵抗と、その結末とは・・・・少女「愛梨」の物語。

Yoso is truly a lost classic, set in the Nara Era (710-794), from Kinugasa Teinosuke the same writer/director who gave us the recognized classic Gate of Hell (Jigokumon, 1952) & the milestone silent surrealist masterpiece A Page of Madness (Kurutta Ippeji, 1926). 　　Yoso means "esoteric priest" which implies "sorcerer." For such a rarely screened film, it seems to have attracted an unwieldy number of English titles: The Sorcerer, Ghostly Priest, Bronze Magician, Phantom Priest, & on the subtitled 35 mm print the only fully apropos title, Priest & Empress, not to be confused with another Raizo Ichikawa film called The Priest & the Beauty (Anchin to Kyohima, 1960). 　　Japan of the Nara Era had a sovereign female emperor or Mikado, Koken-Shotoku Tenno, who fell under the sway of a Buddhist priest named Dokyo. His influence over her proved so untoward that Empress Koken-Shotoku gave him titles which implied the imperial line might actually pass to him should the Empress die, despite that the imperial line had been preserved as a single dynasty back into prehistory. 　　The crisis engendered by Dokyo led to the banning of women ever again becoming Mikado, a decision periodically revisited including in our own generation when there stood a strong threat of no authentic male heir. 　　The film takes this historical reality & makes of it a believable though tough & very odd love story. Dokyo, who has indeed been called "the Japanese Rasputin," is here played by Raizo Ichikawa. Though Dokyo clearly uses the affections of the Empress (played by the ethereally beautiful Yukiko Fuji) for personal gain & power, his intense devotion to Shotoku is nevertheless no falsehood. When it comes time for his assassination, it is very much Rasputin-like, as he is damnably difficult to kill. It's portrayed quite horrifically but it remains simultaneously sorrowful because his love of Shotoku was no pose.

当一位年轻僧人接触到“博阿健身房”的健美运动员时，他重新连接到了自己身体的力量，引发了一场彻底的转变。

Yoso is truly a lost classic, set in the Nara Era (710-794), from Kinugasa Teinosuke the same writer/director who gave us the recognized classic Gate of Hell (Jigokumon, 1952) & the milestone silent surrealist masterpiece A Page of Madness (Kurutta Ippeji, 1926). 　　Yoso means "esoteric priest" which implies "sorcerer." For such a rarely screened film, it seems to have attracted an unwieldy number of English titles: The Sorcerer, Ghostly Priest, Bronze Magician, Phantom Priest, & on the subtitled 35 mm print the only fully apropos title, Priest & Empress, not to be confused with another Raizo Ichikawa film called The Priest & the Beauty (Anchin to Kyohima, 1960). 　　Japan of the Nara Era had a sovereign female emperor or Mikado, Koken-Shotoku Tenno, who fell under the sway of a Buddhist priest named Dokyo. His influence over her proved so untoward that Empress Koken-Shotoku gave him titles which implied the imperial line might actually pass to him should the Empress die, despite that the imperial line had been preserved as a single dynasty back into prehistory. 　　The crisis engendered by Dokyo led to the banning of women ever again becoming Mikado, a decision periodically revisited including in our own generation when there stood a strong threat of no authentic male heir. 　　The film takes this historical reality & makes of it a believable though tough & very odd love story. Dokyo, who has indeed been called "the Japanese Rasputin," is here played by Raizo Ichikawa. Though Dokyo clearly uses the affections of the Empress (played by the ethereally beautiful Yukiko Fuji) for personal gain & power, his intense devotion to Shotoku is nevertheless no falsehood. When it comes time for his assassination, it is very much Rasputin-like, as he is damnably difficult to kill. It's portrayed quite horrifically but it remains simultaneously sorrowful because his love of Shotoku was no pose.

A young department store worker discovers a magical lantern which contains the spirit of Tsuboi, a genie who has just one last chance to help someone on Earth.

Kantaro, known as a rowdy boy in the town of Ina, attacked the local boss, Kaneoni's Arahira, all by himself, but was defeated by a large group of people and thrown into the Tenryu River, never to be seen again. Three years later, Kantaro, who was rumored to be dead, was reported to have appeared at a boarding house upstream of the Tenryu River by Genkō, a horseman who had been saved by Kantaro. O-Mitsu, the daughter of Chokai-ji Temple, who had secretly been in love with Kantaro, was thrilled by the rumor and told her father, the monk Ryokai, about it. However, Ryokai was none other than the one who had rescued Kantaro from the boarding house three years earlier and had secretly sent him to Edo.

领主的女儿进入到修道院里进行修行，可是在修道院里卷进了欲望的漩涡，和放浪的贵族合谋害死了老院长，终于被其他的僧尼所揭发……

领主的女儿进入到修道院里进行修行，可是在修道院里卷进了欲望的漩涡，和放浪的贵族合谋害死了老院长，终于被其他的僧尼所揭发……

中国首部AIGC木刻版画风格剧情动画短片，改编自中国古代志怪小说集《稽神录》，讲述了僧人珉楚偶然遇见由亡友所化的掠剩鬼，在获赠鬼花之后遭遇了一系列诡谲奇遇的故事。影片以东方志怪为基础，探讨了因果业力与人性本真，运用极简镜头和虚实相生的美学表达，打造出了兼具传统意蕴与先锋质感的东方影像。