20世纪60年代，在江之岛有一位12岁的少女西宫渚。当渔夫的父亲在四年前去世，如今她与经营小酒馆的母亲两人相依为命。暑假里，渚渴望得到一个随身听，便来到伯母开的海边小铺打工赚钱。在那里，渚碰到了很多新鲜事，她受表姐不良少女丽子的影响烫了头发；跟丽子时髦的男朋友开车出去兜风；还遭到从东京回来的富家少女真美的欺负。渚结识了体弱多病的少年洋，尝到了初恋的滋味。洋喜欢在沙滩上拣海潮带来的东西，在渚的帮助下他学会了游泳。不料，洋独自游泳溺水而死。带着多彩的回忆，渚的暑假结束了，她用打工存下的钱买了心爱的随身听……

20世纪60年代，在江之岛有一位12岁的少女西宫渚。当渔夫的父亲在四年前去世，如今她与经营小酒馆的母亲两人相依为命。暑假里，渚渴望得到一个随身听，便来到伯母开的海边小铺打工赚钱。在那里，渚碰到了很多新鲜事，她受表姐不良少女丽子的影响烫了头发；跟丽子时髦的男朋友开车出去兜风；还遭到从东京回来的富家少女真美的欺负。渚结识了体弱多病的少年洋，尝到了初恋的滋味。洋喜欢在沙滩上拣海潮带来的东西，在渚的帮助下他学会了游泳。不料，洋独自游泳溺水而死。带着多彩的回忆，渚的暑假结束了，她用打工存下的钱买了心爱的随身听……

刑警队长孟东刚上任就接到一起浮尸案，事发地渚北小镇上 的渔民石水生主动自首让孟东心生疑惑。从石水生堪称完美的供词中孟 东找到一丝线索，将矛头指向当地恶霸李老三。一番侦查下孟东将失手 杀人的李老三抓捕归案。正待警队庆功之时尸检报告却将孟东的喜悦打 消无影，一个新的线索又将案子拖入了新的旋涡。

刑警队长孟东刚上任就接到一起浮尸案，事发地渚北小镇上 的渔民石水生主动自首让孟东心生疑惑。从石水生堪称完美的供词中孟 东找到一丝线索，将矛头指向当地恶霸李老三。一番侦查下孟东将失手 杀人的李老三抓捕归案。正待警队庆功之时尸检报告却将孟东的喜悦打 消无影，一个新的线索又将案子拖入了新的旋涡。

改编自坂上泉的小说《渚之萤火》。故事发生在返还协定生效前的琉球岛（冲绳）。1972年春天，派遣至警视厅的刑警真荣田太一（高桥一生饰）回到琉球警察本部任职。刚就任就碰上了岛内回收美元的运钞车遇袭，车内100万美元失窃的大案。真荣田能否顺利解决此次的强盗案件、抓获潜伏在岛上的美元大盗？

改编自坂上泉的小说《渚之萤火》。故事发生在返还协定生效前的琉球岛（冲绳）。1972年春天，派遣至警视厅的刑警真荣田太一（高桥一生饰）回到琉球警察本部任职。刚就任就碰上了岛内回收美元的运钞车遇袭，车内100万美元失窃的大案。真荣田能否顺利解决此次的强盗案件、抓获潜伏在岛上的美元大盗？

该剧情改编自坂上泉的小说《渚之萤火》，故事背景设定在返还协定生效前的琉球岛（冲绳）。1972 年春天，被派遣至警视厅的刑警真荣田太一（高桥一生 饰）回到琉球警察本部任职。他刚上任，就遭遇了岛内回收美元的运钞车遭袭事件，车内 100 万美元被盗。真荣田能否成功侦破这起抢劫案，将潜伏在岛上的美元大盗绳之以法呢？

二十世纪初，婚礼摄影师佩德罗来到了荒蛮的火地岛，为当地掌权者拍摄婚礼。可他却深深迷上了年轻的准新娘，背叛了当权者所设下的规矩，并因此受到了惩罚。佩德罗无法逃离火地岛，只好被迫成为了一场针对原住民的大屠杀共犯。在他拍摄的相片中，屠杀场面被改为精心设计的摆拍，真相则被遗留在镜头之外。本片取材自真实发生在火地岛的原住民屠杀事件，导演通过虚构主角佩德罗的视角，展现出了这段历史中令人不适的灰色地带。影片荣获了威尼斯电影节地平线单元最佳导演奖及费比西奖。

White on White is the video diary that filmmaker Viera Čákanyová kept while staying at the Polish Antarctic station, where she shot her neural network-led film FREM (2019) in 2017. During her stay, the author talks with a compellingly conversant AI chat bot, driving conversations that touch on the nature of film, art, and the meaning of life, while also revealing a way of thinking which – free from a distinctly human emotionality – forces deep introspection. Footage from her ordinary, everyday life at the station contrasts with lyrical images of the Antarctic’s immaculate scenery and wildlife. Čákanyová complements this with her own probing and intelligent commentary, provoked by the loneliness of the ice-covered landscape.

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.