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.

狄仁杰奉命巡查江南各道，途径临安城时被卷入一起神秘的少女失踪案，经过深入调查他发现与当地的邪教有关，案件疑云密布错综复杂，背后妖僧的身影若隐若现，狄仁杰以非凡的才智抽丝剥茧，一步步逼近真相，开启了一场正义与邪恶碰撞的探案之旅…...

我佛慈悲，普渡众生；万人信奉的缅甸高僧维拉图，弘扬的佛法却是顺我者生，逆我者亡。菩提树下修行出孽魔恶道，端坐权力祭坛，右手支颐高举和平公义，左手捏指挑起反伊斯兰仇恨，煽动种族清洗罗兴亚人。佛光昭昭下生灵涂炭，令番红花革命染上血色，昂山素姬的民主光环幻灭。始于《独裁者阿敏的自画像》（1974），续于《魔鬼大状》，施罗德终以「佛教恐怖面相」 的曼陀罗完成「邪恶轴心」三部曲。人在做，天在看， 无畏无惧以镜头直视邪恶本相：心若囚笼，苍生难渡。

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。

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。

本片为中央美术学院城市设计学院09级学生毕业作品。

暂无剧情简介

大明嘉靖王朝，倭寇猖獗，严嵩父子把持朝政，不事抗倭。将领戚继光虽有报国之志，但面对困难的局面有些力不从心。在倭寇的杀戮中，少年月空失去了母亲，大脚僧搭救了月空，把他带到了少林寺。15年后，月空随方丈出席祭海大典，路遇日本女孩一本秀子和剑客风语，活泼的日本女孩秀子爱上了月空。在少林寺，秀子谎称是月空的妻子，引起轩然大波……

大胤王朝，朝廷通过“镇武司”血洗江湖。金佛寺弃徒天行无畏盗走镇寺之宝“乾坤酒葫芦”，在女捕快苏红叶的围追堵截中，意外揭开了一个横跨万年的惊天骗局；整个天下竟是国师白玄机为求长生而设下的活人祭坛。当血雨降世、众生沦为祭品，疯僧天行无畏毅然斩断佛性，化身成魔，以燃尽寿数为代价。