无数的光芒闪耀着五颜六色，浮游在空中的无重力空间——“知识之箱”。 那里有着众多的世界、众多的时间、众多的人。 杜娅尔和多萝茜两人在那里与敌人战斗着。 敌人，那是侵食世界的存在——病毒。 被病毒污染的世界，非得消除掉不可。 这就是她们的任务、她们的工作。 在某个时刻，杜娅尔和多萝茜感知到了新的病毒的出现。 在那里，有一位被病毒袭击的少女。 将少女救出来的两人，静静地等待着她醒过来。 少女是什么人——来自何方，去往何处。 不久后，少女醒了过来。 这位少女自称为“莉莫”，不断低语着一句话——。 “不回到花田的话……”。

Day in, day out, Mr. Grimm is busy with his job as the Reaper, harvesting people's lives. One day, his monotonous existence is interrupted by the door bell. It's a little girl. She wants her cat back. Little does she know that she's the next life on Mr. Grimm's list.

Day in, day out, Mr. Grimm is busy with his job as the Reaper, harvesting people's lives. One day, his monotonous existence is interrupted by the door bell. It's a little girl. She wants her cat back. Little does she know that she's the next life on Mr. Grimm's list.

因为今年春天导入的“校园律师制度”，新人律师田口章太郎（神木隆之介）被律师事务所的老板高城（南果步）派遣到青叶第一中学。监护人水岛（堀内敬子）正在向班主任望月（岸井雪乃）抗议，因为自己的女儿受到了体罚。田口说，“你现在的行为是强行妨碍营业”，赶走了监护人。校长仓守（小堺一机）因为大事化小和平解决心情很好，但是教务主任三浦（田边诚一）对田口的做法提出反对。几天后，体罚问题发展成了谁也没想到的状态…

因为今年春天导入的“校园律师制度”，新人律师田口章太郎（神木隆之介）被律师事务所的老板高城（南果步）派遣到青叶第一中学。监护人水岛（堀内敬子）正在向班主任望月（岸井雪乃）抗议，因为自己的女儿受到了体罚。田口说，“你现在的行为是强行妨碍营业”，赶走了监护人。校长仓守（小堺一机）因为大事化小和平解决心情很好，但是教务主任三浦（田边诚一）对田口的做法提出反对。几天后，体罚问题发展成了谁也没想到的状态…

震级为9.0，最大震度为7的巨大地震所引发的出乎意料的大海啸袭击了福岛第一核电站。由于浸水而丧失了全部电源的一辅，陷入了无法冷却原子炉的状况。这样…

《深夜食堂2》的佐藤浩市和《犬之岛》的渡边谦确定加盟福岛核电站灾难主题新片《福岛50死士》。 　　据悉，本片将围绕冒着生命危险留在核电站的最前线工作人员展开，他们中包括值班主管Isaki和工地主任Yoshida。媒体后来以“福岛50死士”来称呼这批勇士。 　　本片目前还未定档，更多信息静待官宣。

暂无剧情简介

战前日本最重要的无声电影之一。 　　This resolution recurs in several of Hiroshi Shimizu's silent films, of which Eternal Heart (Fuei no Shiratama, 1929) was shown at Pordenone. This film examines different aspects of modernity through the personalities of two sisters. The elder is in love with Mr Narita, but he marries the younger, only to find that she neglects him and spends her time attending parties and drinking. Thus summarised, one might read the film as essentially conservative - an indictment of a "modern" woman who fails in her wifely duties. But the older sister also personifies an aspect of modernity, since she works as a typist in a Tokyo office. Courted by her boss, she is introduced to his children, who speak scathingly of her profession, and criticise the morality of working women. Here, Shimizu's sympathies are clearly with the modern, professional woman against the spoilt and judgemental upper class. The film's intelligence, in fact, lies in its ambivalent attitude to the modern - an ambivalence that one can trace through Shimizu's later and finer silent films. Unfortunately, the narrative resolution is unsatisfactory; the hero's departure from Japan and the heroine's marriage to her boss fail to answer the problems that the film has posed. The final escape seems a contrivance, though it may be that this failing is to be blamed on Kikuchi Kan, author of the original novel, rather than Shimizu. 　　http://www.midnighteye.com/features/pordenone-silent-film-festival-2005.shtml

战前日本最重要的无声电影之一。 　　This resolution recurs in several of Hiroshi Shimizu's silent films, of which Eternal Heart (Fuei no Shiratama, 1929) was shown at Pordenone. This film examines different aspects of modernity through the personalities of two sisters. The elder is in love with Mr Narita, but he marries the younger, only to find that she neglects him and spends her time attending parties and drinking. Thus summarised, one might read the film as essentially conservative - an indictment of a "modern" woman who fails in her wifely duties. But the older sister also personifies an aspect of modernity, since she works as a typist in a Tokyo office. Courted by her boss, she is introduced to his children, who speak scathingly of her profession, and criticise the morality of working women. Here, Shimizu's sympathies are clearly with the modern, professional woman against the spoilt and judgemental upper class. The film's intelligence, in fact, lies in its ambivalent attitude to the modern - an ambivalence that one can trace through Shimizu's later and finer silent films. Unfortunately, the narrative resolution is unsatisfactory; the hero's departure from Japan and the heroine's marriage to her boss fail to answer the problems that the film has posed. The final escape seems a contrivance, though it may be that this failing is to be blamed on Kikuchi Kan, author of the original novel, rather than Shimizu. 　　http://www.midnighteye.com/features/pordenone-silent-film-festival-2005.shtml