A horror movie star returns to his famous role after years in a mental institution. But the character seems to be committing murders independent of his will.

A horror movie star returns to his famous role after years in a mental institution. But the character seems to be committing murders independent of his will.

Born in 1935, in Ibaragi Prefecture. Jonouchi entered the Art Department of Nihon University; in 1957, along with his colleague Katsumi Hirano, he co-founded the Film Study Group in the Fine Art Department of Nihon University. He co-directed “The Record of N [N no Kiroku]” (59), the second production by the collective, documenting the disaster of the Ise Bay Typhoon. “Pou Pou” (60) is a chain of amorphously expanding phantasmagoric images, with insertions of the images taken from film classics. During the same period, looking ahead to the future after graduation, he co-founded the VAN Institute for Cinematic Science as a forum for film production, and began living communally with five members including Masao Adachi. In correspondence with the anti-art movement of the time, VAN Institute assumed a place for artists working in various media to gather together. A documentary of the Anti-Japan-US Security Treaty struggle of 1960, “Document 6.15” (61), was screened at the memorial assembly for Michiko Kanba, who was killed at the demonstration in front of the Diet Building. It was a pioneering experiment of ‘intermedia’ in Japan which showed symbolic close-up images of Kanbara along with the scenes re-enacting police brutality, meanwhile two completely different soundtracks were played together, slide projections of paintings were going on, and a live happening was taking place at the venue. Jonouchi subsequently produced “Document LSD” (62), documenting a public LSD experiment using himself as the object; “Hi Red Center Shelter Plan” (64), that was about an art event at the Imperial Hotel; “WOLS”(65), consisting of fragments of a painting by WOLS, which were put together through in-camera editing; “Hijikata Tatsumi,” which shot the stage of Tatsumi Hijikata frame by frame. Towards the 70’s Anti-Japan-US Security Treaty Struggle, he continued to document the student uprising, while successively producing the “Gewaltopia series” including “Hakusan Street by Nihon University [Nichidai Hakusan-dori]”(68), “The Mass Collective Bargaining at Nihon University” (68), “Gewaltopia Trailer” (69), and “Shinjuku Station” (74). By including live performances which created improvised sounds and editing the 　　films differently for each screening, and thus negating the idea of film as being complete, repeatable, and consumable — Jonouchi pursued ‘cinematic revolution.

Born in 1935, in Ibaragi Prefecture. Jonouchi entered the Art Department of Nihon University; in 1957, along with his colleague Katsumi Hirano, he co-founded the Film Study Group in the Fine Art Department of Nihon University. He co-directed “The Record of N [N no Kiroku]” (59), the second production by the collective, documenting the disaster of the Ise Bay Typhoon. “Pou Pou” (60) is a chain of amorphously expanding phantasmagoric images, with insertions of the images taken from film classics. During the same period, looking ahead to the future after graduation, he co-founded the VAN Institute for Cinematic Science as a forum for film production, and began living communally with five members including Masao Adachi. In correspondence with the anti-art movement of the time, VAN Institute assumed a place for artists working in various media to gather together. A documentary of the Anti-Japan-US Security Treaty struggle of 1960, “Document 6.15” (61), was screened at the memorial assembly for Michiko Kanba, who was killed at the demonstration in front of the Diet Building. It was a pioneering experiment of ‘intermedia’ in Japan which showed symbolic close-up images of Kanbara along with the scenes re-enacting police brutality, meanwhile two completely different soundtracks were played together, slide projections of paintings were going on, and a live happening was taking place at the venue. Jonouchi subsequently produced “Document LSD” (62), documenting a public LSD experiment using himself as the object; “Hi Red Center Shelter Plan” (64), that was about an art event at the Imperial Hotel; “WOLS”(65), consisting of fragments of a painting by WOLS, which were put together through in-camera editing; “Hijikata Tatsumi,” which shot the stage of Tatsumi Hijikata frame by frame. Towards the 70’s Anti-Japan-US Security Treaty Struggle, he continued to document the student uprising, while successively producing the “Gewaltopia series” including “Hakusan Street by Nihon University [Nichidai Hakusan-dori]”(68), “The Mass Collective Bargaining at Nihon University” (68), “Gewaltopia Trailer” (69), and “Shinjuku Station” (74). By including live performances which created improvised sounds and editing the 　　films differently for each screening, and thus negating the idea of film as being complete, repeatable, and consumable — Jonouchi pursued ‘cinematic revolution.

不久的将来，世界被频频不断的战争所摧毁，人们在城市废墟中苟延残喘谋求生存，而臭名昭著的残酷黑帮组织“地狱行刑人”却不断迫（和谐）害着无辜的幸存者。他们追捕年轻的女性并强行拉入死亡竞技场使其自相残杀以供队员们享乐之用，只有最终的胜利者才能离开这个地狱般的世界，因此生活在城市中的女性们整日过着提心吊胆的生活。女战士们为了对抗这种霸权主义特别成立了“Actiongirls”行动小组来对抗强大的黑帮组织。 　　黑帮组织的“纳粹女王”安娜在一次破坏行动中偶然发现了政（和谐）府的军事机密，并提及“超级士兵”的计划，于是安娜用政（和谐）府遗留的病毒样本与尸体组成了一支冷酷强大的活死人部队，她企图利用这些丧尸们达成统治全球的目的。女战士们当然不会坐以待毙，她们将会和这些冷血动物血战到底…… 　　片子是“Actiongirls”系列的外传，也是最刺激的一部。抛开H的成分不说，影片的效果还是不错的，动作场面也很精彩，片中出现的强悍丧尸们绝对和活死人黎明里的那些疯子有一拼。

A verger, who likes to dress as a priest, is invited, by one of the villagers, to be the pastor at a vacant church. The atheist teacher resents the pastor, and tries to embarrass him in various ways, including being caught with the local girl, Majka.

A verger, who likes to dress as a priest, is invited, by one of the villagers, to be the pastor at a vacant church. The atheist teacher resents the pastor, and tries to embarrass him in various ways, including being caught with the local girl, Majka.

Follows a young couple as they hop borders across Europe and their old lives threaten to catch up with them while the truth grows more elusive, showing what it means to lose oneself in love.

Follows a young couple as they hop borders across Europe and their old lives threaten to catch up with them while the truth grows more elusive, showing what it means to lose oneself in love.

Two （Pop饰演）一个很有才华MV导演，因为有个帅气的男友Ping（Top饰演）引来无数人的嫉妒，Ping不仅帅气 还很贴心，无微不至的照顾着Two，他们经常在Two的公寓见面 翻云覆雨。 　　有一天，Ping因为在酒吧陪顾客，偶遇了女主Jan（Due饰演），一位把Ping的客人哄的很开心的酒吧女，Ping与Jan的关系也从那个时候开始频繁起来，Two虽然有怀疑，但无奈工作太忙，但也就不了了之了。知道Two的好友，Jess拿着Ping与Jan的合照给他看之后，Two这才开始重视，并有了一系列的考验这个帅气男友的计划 ，他们的爱情终究会走向何方？