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.

A fictional version of the events that led to the assassination of the Dutch politician Pim Fortuyn on May 6, 2002. The movie is based upon the book "The sixth of May" by Tomas Ross.

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?

传说中，圣杯是能够实现拥有者愿望的宝物。 为了让这圣杯出现必须要进行一项仪式 被圣杯所选的七位魔术师MASTER 将被赐与圣杯所选出的七位使魔SERVANT 剑士“SABER” 枪兵“LANCER” 弓兵“ARCHER” 骑兵“RIDER” 魔术师“CASTER” 暗杀者“ASSASSIN” 狂战士“BERSERKER” 魔术师必须与这七种类的使魔其中一位订下契约并证明自己是最适合圣杯的人 换言之，魔术师必须消去其它的魔术师来证明自己是最强的 这样一整个求取圣杯的仪式被称为 “圣杯战争……

《西岳奇童》是由上海美术电影制片厂根据1985年脍炙人口的美术电影翻拍的同名影片。 故事以民间神话《劈山救母》为蓝本，讲述山脚下一座学塾院内，小沉香和学童们一起学文念书。下课时，沉香走出课堂，正遇上同学秦保仗势欺人。沉香抱打不平，狠狠地教训了他。秦保骂道：“沉香没有妈，你妈是妖精！”小沉香伤心地回到家，向爸爸要妈妈。父亲刘彦昌无奈告诉沉香，他的妈妈就是三圣公主，被杨戬压在莲花峰下。 刘彦昌取出三圣公主留下的“沉香宝带”交给沉香，沉香接过宝带决心离家寻母。他翻山越岭，历尽种种险阻，找到了朝霞姑姑。朝霞姑姑将杨戬偷走公主的宝莲神灯，加害刘彦昌父子的经过告诉了他。沉香恨透了舅舅，决心把母亲从莲花峰下救出。 朝霞姑姑引领沉香拜霹雳大仙为师。大仙为了试探沉香是否心诚，故意让他沉醉于快乐世界之中。而沉香却心中惦念着受苦的母亲，求大仙教授本领。大仙让沉香吃下九牛二虎，沉香顿时力大无比。大仙告诉小沉香，欲战胜二郎神杨戬，收回宝莲灯，救出母亲，还得跟他学三年。小沉香救母心切，自觉苦练。终于能背起小山，打碎铜钟，踢倒大树。就这样，沉香带着母亲留给他的宝带，径自救母去了……

賞金一千万の謳い文句に惹かれてスロット大会の会場へやって来た10名の参加者達。それが、負ければ“死の制裁”が待つ闇のスロット大会だとは知る由もなく…。『ライアーゲーム -再生-』『インシテミル 7日間のデス・ゲーム』に続く緊迫のデス・ゲーム!R-15指定作品。