播音员云妮与男友相恋多年，但男友出国深造后，毫无音讯。云妮在空虚孤独中，和男同事林辉结婚，但婚后并不幸福，连女儿小敏也被怀疑不是亲生骨肉。云妮的好友凯琪是个风尘女郎，她收留了云妮母女，于是云妮也走向凯琪的路，并认识了赌徒阿东，和他同居；阿东时常虐待云妮，一日云妮忍无可忍，失手击毙阿东，最后终于含泪投案。

播音员云妮与男友相恋多年，但男友出国深造后，毫无音讯。云妮在空虚孤独中，和男同事林辉结婚，但婚后并不幸福，连女儿小敏也被怀疑不是亲生骨肉。云妮的好友凯琪是个风尘女郎，她收留了云妮母女，于是云妮也走向凯琪的路，并认识了赌徒阿东，和他同居；阿东时常虐待云妮，一日云妮忍无可忍，失手击毙阿东，最后终于含泪投案。

苗族某部族长之子，因父亲被部下谋杀，只好逃到一僻远地方安身立命。 　　洪炮执信一巫师之言，以为只要杀妻取婴，将亲骨肉炼制成鬼童，既能法力无边，轻易打回老家去。洪炮的妻子了解巫师的阴谋，施法前一夜离家出走，产下一对女婴，其中一个托养在咖啡店施大娘家，长大后亭亭玉立，取名阿鲁妮，另一女婴由生母带走，半路遇害，坠崖而死，女婴由母狼哺养长大，成为一个半兽半人狼女。——出自海岸国语VCD

苗族某部族长之子，因父亲被部下谋杀，只好逃到一僻远地方安身立命。 　　洪炮执信一巫师之言，以为只要杀妻取婴，将亲骨肉炼制成鬼童，既能法力无边，轻易打回老家去。洪炮的妻子了解巫师的阴谋，施法前一夜离家出走，产下一对女婴，其中一个托养在咖啡店施大娘家，长大后亭亭玉立，取名阿鲁妮，另一女婴由生母带走，半路遇害，坠崖而死，女婴由母狼哺养长大，成为一个半兽半人狼女。——出自海岸国语VCD

An audio-visual postcard that director Viera Čákanyová sends to the future, based on her fictional conversation with her future virtual copy. She playfully and intimately explores the potential of blockchain technology and artificial intelligence in solving complex man-made global problems such as climate change or the crisis of parliamentary democracy. From a curious and critical perspective, she questions the ideal techno-optimistic model of the future and offers a window into an unspecified future where some technologies behave randomly or negatively. By combining super 8, 16mm footage on film stock, special lidar scan technology and point cloud methods, she highlights the tension between analogue and digital future of humanity.

An audio-visual postcard that director Viera Čákanyová sends to the future, based on her fictional conversation with her future virtual copy. She playfully and intimately explores the potential of blockchain technology and artificial intelligence in solving complex man-made global problems such as climate change or the crisis of parliamentary democracy. From a curious and critical perspective, she questions the ideal techno-optimistic model of the future and offers a window into an unspecified future where some technologies behave randomly or negatively. By combining super 8, 16mm footage on film stock, special lidar scan technology and point cloud methods, she highlights the tension between analogue and digital future of humanity.

Iris (Atsuko Okamoto) is determined to slay the person who killed her father - but an old and immortal enemy traps her first! Nursed to health by a kind and sexy sorceress and her brother, Iris recovers. When the sexy and villainous witch, Dakini, summons malicious spirits to threaten the village, Iris and her new friends must use all their powers to struggle against their common enemy.

テレビのレギュラーや数々のグラビア、Vシネマで活躍の岡元あつこが、宿命を背負って生きていく女剣士を演じる時代劇スペクタクル絵巻。賞金稼ぎのアヤメは、死んだ父の敵を探す旅を続けていてた。そんな時、以前瀕死の重態を負わせたはずの我王が現れ…。

it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks. 　　The ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face.