戌井朔之助接受藩内命令，要暗杀佐久间森卫，然而佐久间同时是自己的妹夫，这让朔之助非常苦恼。妹妹田鹤学过剑道，也许行动时，会不得不挥刀相向。殊不…

暂无剧情简介

《马小川的失踪》 是一个关于爱和寻找的故事。 影片的主人公是两位高二学生，他们平平凡凡，性格孤僻，却因相同的知趣走在一起。互相溶于对方的生活。他们不满足于现状的种种，如理想和现实冲撞下残酷的生活，让人有种逃离的欲望。同时渴望新的未来，臆想全新的世界。而有一天，其中的一个人突然消失在另一个人的世界里。主人公开始怀疑自己记忆的真实性， 陷入成长的迷惘。

现代少女虞星禾穿越成古短剧虐待皇子的炮灰，觉醒商场空间。她救下身中剧毒、眼盲腿瘸的七皇子萧准屿，靠现代小吃摆摊，与掌柜合开荷马商铺，屡次化解赵春娥的恶意陷害。她结识将军与御医，寻灵药治好萧淮屿。萧淮屿恢复皇子身份邀她入宫，虞星禾厌弃宫斗留书隐居。富商顾怀琛与她联手打造小吃街、开采盐矿制精盐供应皇宫。萧淮屿平定朝野登基，处理完政务后奔赴山林，与手握庞大商业版图的虞星禾重逢。

某座小镇上有一间小酒馆“小夜子”。这一晚，伴随着酒馆的灯光，常客们又聚集在这里。他们中有疲惫的人、寂寞的人、买醉的人…… 虽说不上是人气酒馆，但这家质朴的小夜子酒馆营造出的氛围，让来客得以享受怀旧而又治愈人心的美好时光。老板娘真奈美是一名单身妈妈，为了抚养女儿小夜子才开了这家“小夜子酒馆”。

两人野营的时候，班长山根联络说发现了被刺杀的尸体，让他们回去。在野营场遇到的女性突然失踪，也有“神隐”的传闻。虽然凹凸不平但其实默契十足的“大小组合”大川和小川发现了这两个事件的意外联系，为了查明事件的真相而四处奔走。

The president of an IT company is found dead. The cause of death is believed to be an overdose of medication for a chronic illness, but the possibility of murder emerges since potassium and other substances were found in the body. Ogawa, unfamiliar with the investigation, asks for help from Okawa, a former detective who now works for the police department. The "large-and-small duo", who are uneven in appearance and personality, take on the challenge of getting to the bottom of a difficult case.

乐天派无名说唱歌手学秀（朴政玟 饰）在接到一通电话后回到家乡边山，并遇到了小学同学善美（金高银 饰），二人相遇后发了了一连串笑泪交织的故事。

在意大利做服务员的艾德里安返回家乡探望家人。他却发现妻子莫妮卡性情大变，儿子卢卡的成长超出了他的预料。他们花了一晚上的时间试图找回以前的感觉。分开的这段时间让两人之间生出了不信任和困惑，但也给了他们重新开始的机会。

In 1981 film director Nagisa Oshima - the 'New Wave' Japanese director best known in this country for films such as Cruel Story of Youth (1960), In the Realm of the Senses (1976), and Merry Christmas, Mr. Lawrence (1983) - traveled to the Yamagata countryside to visit the documentary filmmaking collective led by Shinsuke Ogawa (1935-1992), who was then in the midst of filming A Japanese Village - Furuyashikimura, a feature-length documentary chronicling the seasonal cycle of rice growing. Ogawa, who produced Summer in Narita (1968), Peasants of the Second Fortress (1971), and Red Persimmons (2004), gives Oshima a brief tour of their rural location, including the rice fields they are cultivating as well as filming, and introductions to local villagers. They then settle down for a wide-ranging conversation about Ogawa Productions' approach to documentary filmmaking - that of self-styled "film nomads" who live and work for extended periods of time in various regions of the country-focusing in particular on their current production, which involves an intimate interaction over a period of several years with local farmers, weather conditions, the environment, and aspects of village life. A VISIT TO OGAWA PRODUCTIONS thus offers a rare insight into the social and cinematic philosophy of one of Japan's best-known documentary film collectives. As the film reveals, Ogawa Productions' in-depth portraits of Japanese society - whether of protest movements or traditional agricultural life - grew out of an unusual commitment to integrate themselves with the communities they filmed, to the extent that their filmmaking literally became an alternative lifestyle.