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.

人死之后，会是怎样的光景呢？没有经历过死亡的人，永远也解不开这个谜团。然而，从宗教的观点来说，“死亡”其实是另一个生命的开端。如果生命在另一个时空中，继续未完的任务或偿还心愿，或许人们对“死亡”这个冰冷的事实，就比较可以释怀了。 一部揭开生死轮回的偶像剧，一场纠葛前世今生的爱情故事。当四散各地的舍利子引发出人性的贪婪，当黑暗中人性的怨怼制造了恐怖的杀机。百年前的双人武僧保护着舍利子，而她窃取的动作却引来了一场残酷的命运……生死交关、爱恨纠缠的他们，将如何保护自己、拯救爱人、守护舍利子？ 　　聂子良（李威饰）和师宇文（TAE 饰）在前世都是西藏武僧，负责在“玛旁雍错湖”边看守莲华生大师遗留于人间的宝物“舍利子”岂料，遇上了来盗取宝物好解救父母生命的卓玛（洪小铃饰）一阵打斗后，卓玛身负重伤、奄奄一息，两人不忍取她性命，反为卓玛治病，于是三人之间的情感纠葛、错综复杂，他们体验到了最磨人的爱恨得失，最后导致两人失职，于是“舍利子”从此散落世界各地，因愧失职守，子良跟宇文走入湖心，而这段三角恋情最后尽也成了遗憾…… 　　生死流转，当三人再度转世之后，子良（李威饰）身边已有个在一起八年的女朋友以珍（林立雯饰）两人不知为何被“恐怖的地狱之门”所缠上，而亚薇（洪小铃饰）甚至因此被唤醒前世记忆，但因为她与以珍已成了好朋友，所以亚薇不忍伤害以珍，一度想放弃子良，但两人前世刻骨铭心的爱情却让两人无法轻易割舍对彼此的眷恋，终究还是让以珍察觉出两人的暧昧异状…… 　　以珍在宇文一番解释后，知道了事情的来龙去脉，她痛苦矛盾，既无法责备子良的背叛，又无法释怀亚薇的刻意隐瞒，在忐忑不安、且三个人都痛苦的情绪中，子良终于下定决心娶以珍，只是一番折腾后，婚礼前夕子良还是开口表示他无法跟以珍在一起，以珍崩溃……她抓住子良的手问子良，难道她八年的爱情真比不上那三百年前的惊鸿一瞥？ 　　因果轮回支配着他们的爱恨纠葛，而这场前世今生的爱恨情仇，令人屏息以待……

聂子良（李威 饰）和师宇文（唐宸禹 饰）奉命看守莲花大师圆寂之后留下的舍利子。某日，卓玛（洪小铃 饰）前来盗取舍利子，被两人阻止，一来二去之间，三人产生的难分难解的感情。最终，舍利子还是遗失了，为了赎罪，聂子良和师宇文投湖自尽。 　　投胎转世之后，三人都忘却了前世的记忆。聂子良和女友以珍（林立雯 饰）相恋八年，彼此之间感情十分要好。卓玛成为了以珍最好的朋友。在一场意外中，卓玛重新获得了前世的记忆，回想起了自己对聂子良炙热的感情，然而她不愿意伤害以珍，只能将这份感情深深的埋藏在心底。然而，以珍还是察觉出了男友和闺蜜之间的异样。

一部揭开生死轮回偶像剧一场纠葛前世今生爱情故事当四散各地舍利子引发出人性贪婪当黑暗中人性怨怼制造了恐怖杀机百年前双人武僧保护着舍利子而窃取动作…

Michel Peneud va mourir. Comme vous, comme moi, et comme sa mère, sauf que sa mère, c'est son médecin qui le lui a dit. Alors elle a décidé de vivre. Et vivre pour la maman de Michel Peneud, ça veut dire nourrir ses chats, boire du mousseux comme si c'était du champagne, et aimer Michel. Mais cet amour, Michel le trouve parfois un peu encombrant. A tel point qu'il semble soudain développer des symptômes très proches de ceux de sa mère. Et si Michel avait lui aussi un cancer du sein?

Michel Peneud va mourir. Comme vous, comme moi, et comme sa mère, sauf que sa mère, c'est son médecin qui le lui a dit. Alors elle a décidé de vivre. Et vivre pour la maman de Michel Peneud, ça veut dire nourrir ses chats, boire du mousseux comme si c'était du champagne, et aimer Michel. Mais cet amour, Michel le trouve parfois un peu encombrant. A tel point qu'il semble soudain développer des symptômes très proches de ceux de sa mère. Et si Michel avait lui aussi un cancer du sein?