アメリカで映画製作に携わる光武蔵人が監督と主演を務め、各国の映画祭で賞を受賞したバイオレンス・アクション。妻子を無惨にも殺された上に両目をつぶされた男が、盲目の剣士“盲狼”となって復讐（ふくしゅう）する姿をウエスタン調で描く。 　　砂漠のオアシスでピクニックを楽しんでいたひと組の家族が、犯罪組織を束ねる男・ネイサン・フレッシャーに襲われた。妻は陵辱されて惨殺される。夫は娘を救いたい一心で、フレッシャーに言われるがまま両目を木の枝で潰し命乞いするが、銃声が轟く。そして数発の弾丸が夫を襲う。フレッシャー

三信貿易の社員木崎芳男が箱根に養生中の社長に重要書類を届けて帰った夜、社長は何者かに殺され、さらに数時間後には会社の金庫から現金千五百万円が紛失した。その日、社長の部屋に入ったのが木崎一人であることから嫌疑は彼に掛り、木崎は浅沼専務に同行渡米する恋人香川夏岐を見送った直後、逮捕された。同時に洋上を走るシビリア号にも、夏岐を殺人共犯容疑者として拘束せよとの急電が届いたが、彼女に好色の眼を向ける浅沼専務は、自分の証言で事はどうでもなると夏岐を説きつけようとした。だが夏岐は、木崎のポケットにあったという金庫の鍵は専務が持っていた筈と不審を抱いた。夏岐は浅沼の手を逃れるはずみに足を踏みはずし、激浪の中に姿を没した。南海の孤島に打ち上げられた夏岐は、同じく漂着していた難破船の乗組員五人に救われた。孤島では彼女をめぐり異様な生活が始った。男達は夏岐を争い、揚句の果て、石塚老人及び彼の娘アキと結婚する筈になっている山内雄三、そして夏岐の三人が残った。だが或る日、海底に潜った夏岐は真珠貝の宝庫を見出した。数年後、外国船に助けられた夏岐は変名し、真珠王ヘレン・南として日本に戻った。恋人木崎は今だに拘置所生活、妹雪子や両親も冷い眼で見られていると知った夏岐は、雪子に真犯人を見つけだすと誓った。調査の末、今は三信貿易の社長に納る浅沼と子分野口が会社乗っ取りの陰謀をめぐらし木崎を陥入れたことが判明した。夏岐は孤島生き残りの二人の手を借りて浅沼の事業を妨害した。だが浅沼の疑惑で野口が夏岐の素姓を見破った日、真相を妹に聞いて復讐の念を燃やした木崎が突如、脱獄した。夏岐と対決した浅沼と野口は数々の証拠に、今はこれ迄と拳銃をつきつけたが、そこに飛び込んで来た木崎に倒された。復讐を成し就げた夏岐と木崎は、今は晴れて抱き合った。

辻本監督の元に集まった血を呼ぶ心霊投稿動画集。映画「レッド・ティアーズ(東映ビデオ)」「ハード・リベンジ、ミリー(水野美紀主演)」シリーズで『復讐』を描いてきた辻本貴則が監修。監督が作品づくりの為に収集した資料の中にあった心霊動画の数々を公開。復讐の参考にするにもおぞましい、呪い殺す為に現れた怨霊たちの姿。偶然映る心霊とは違う血を呼ぶ投稿動画集。

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html

Rajiv and Varsha, a couple with a five-year-old son, Rahul, moves to a new flat where Varsha faces paranormal activities. Can Varsha fight against supernatural forces to save their dream house, or she decides to leave her house to save her family?

山部健太與朋友們一起去露營，他的目標是從溪流釣到今年最早的大馬哈魚．突然，一名少女出現在他的眼前，彷彿是從流行主雜誌坎出來的美麗少女對健太說：下次約個時間見面吧！並留下電話號碼給他．．．

When starting an international relationship, we believe that there are no borders when it comes to love. However, while dating we face many obstacles such as linguistic and cultural differences. We wonder, “Who’s fault is this?” While there are no concrete answers when it comes to love and relationships, we aim to resolve some of these issues. We have 7 men and 7 women from different countries and different cultural backgrounds to share their opinions on love and relationships.

When starting an international relationship, we believe that there are no borders when it comes to love. However, while dating we face many obstacles such as linguistic and cultural differences. We wonder, “Who’s fault is this?” While there are no concrete answers when it comes to love and relationships, we aim to resolve some of these issues. We have 7 men and 7 women from different countries and different cultural backgrounds to share their opinions on love and relationships.