海坂藩武士佐久间森卫（片冈爱之助 饰）因上书严厉批判主上的农政措施而遭弹劾，此后他携妻脱藩，不就却又因病返回。侦察到佐久间的动向，藩内自然不能坐视不理，于是命令武士戌井朔之助（东山纪之 饰）前去讨伐。此举令朔之助颇感为难，因为佐久间的妻子田鹤（菊地凛子 饰）正是自己的妹妹。田鹤自幼习武，性情刚烈，见到丈夫被杀必然抵死反抗，届时难免上演兄妹相残的悲剧。启程前夕，戌井家的下人新藏（胜地凉 饰）请求随行。他从小与戌井兄妹一同长大，和田鹤虽然青梅竹马，无奈身份的落差令有情人无缘结合。主仆二人一路前行，心中祈愿那个时刻永远不会到来…… 　　本片根据藤泽周平短篇集《闇の穴》中收录的故事改编。

戌井朔之助接受藩内命令，要暗杀佐久间森卫，然而佐久间同时是自己的妹夫，这让朔之助非常苦恼。妹妹田鹤学过剑道，也许行动时，会不得不挥刀相向。殊不…

本片讲述拳王吴田被师弟王猛陷害致人伤残获刑出狱后，在亲友帮助下重新振作击败王猛，令其获得应有惩罚的故事。

本片讲述拳王吴田被师弟王猛陷害致人伤残获刑出狱后，在亲友帮助下重新振作击败王猛，令其获得应有惩罚的故事。

某座小镇上有一间小酒馆“小夜子”。这一晚，伴随着酒馆的灯光，常客们又聚集在这里。他们中有疲惫的人、寂寞的人、买醉的人…… 　　虽说不上是人气酒馆，但这家质朴的小夜子酒馆营造出的氛围，让来客得以享受怀旧而又治愈人心的美好时光。老板娘真奈美是一名单身妈妈，为了抚养女儿小夜子才开了这家“小夜子酒馆”。

两人野营的时候，班长山根联络说发现了被刺杀的尸体，让他们回去。在野营场遇到的女性突然失踪，也有“神隐”的传闻。虽然凹凸不平但其实默契十足的“大小组合”大川和小川发现了这两个事件的意外联系，为了查明事件的真相而四处奔走。

本作は、元刑事で今は働き方改革を啓発する警務課職員・大川勇治と、刑事課の体育会系な雰囲気になじめない若手刑事・小川満を主人公とする物語。IT企業社長の不審死をめぐって捜査に行き詰まった小川が、かつて優秀な刑事だったという大川を一方的に頼ったことをきっかけに、凸凹な2人がコンビで事件の真相に迫っていく。

两人野营的时候，班长山根联络说发现了被刺杀的尸体，让他们回去。在野营场遇到的女性突然失踪，也有“神隐”的传闻。虽然凹凸不平但其实默契十足的“大小组合”大川和小川发现了这两个事件的意外联系，为了查明事件的真相而四处奔走。

The president of an IT company is found dead. The cause of death is believed to be an overdose of medication for a chronic illness, but the possibility of murder emerges since potassium and other substances were found in the body. Ogawa, unfamiliar with the investigation, asks for help from Okawa, a former detective who now works for the police department. The "large-and-small duo", who are uneven in appearance and personality, take on the challenge of getting to the bottom of a difficult case.

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.