元少女隊のメンバーで声優としても活躍中の女優・安原麗子が、サイパンの海での過激ショットに挑んだセクシードラマ。ある南国の海に伝わる人魚伝説。その島で出会った泉美と洋介は、ラジオから聞こえるマリーンの声に導かれて恋に落ちていく。

大藏

This softcore effort from cult pinku-eiga director Hisayasu Sato concerns the perfect couple. Of course, they don't know that they're the perfect couple because they each keep a "terrible" secret from the other. This prevents them from enjoying a normal sex life. The husband is impotent unless he can watch another couple having sex, and the wife pleasures herself to thoughts of being raped while someone else watches. Eventually, the voyeuristic husband and the exhibitionist wife confess their secrets to each other and realize how silly they've been when they were clearly made for each other. Rie Asai and Masato Kino star with Rio Serizawa and Tori Asano.

This softcore effort from cult pinku-eiga director Hisayasu Sato concerns the perfect couple. Of course, they don't know that they're the perfect couple because they each keep a "terrible" secret from the other. This prevents them from enjoying a normal sex life. The husband is impotent unless he can watch another couple having sex, and the wife pleasures herself to thoughts of being raped while someone else watches. Eventually, the voyeuristic husband and the exhibitionist wife confess their secrets to each other and realize how silly they've been when they were clearly made for each other. Rie Asai and Masato Kino star with Rio Serizawa and Tori Asano.

1975年創辦的「山海塾」為舞踏界的代表性團體，在天兒牛大極具高度美學的編舞之下，推向更具可塑性的明亮宇宙，有別於其他強調「黑暗」暴力的舞踏團體，將肢體技巧轉為闡述超現實的工具。1986年第七部舞作《卵熱》在水畔的神聖儀式中，如靈魂般的個體不停地崩解、再生，無時間性地存在於生與死之間。天兒牛大說：「舞者的身體像一個水就要溢出的杯子，多一滴都不行，他們的身體已進入極端的平衡狀態。」他是舞台上的祭司，是暗黑舞蹈裡的白色舞踏，在沙、水、土的自然元素裡呈現生命的優雅高貴。

豊満なバストで男を魅了する、かとうれいこ。彼女がＭ・モンローに挑戦するドタバタお色気コメディ

As the film begins, Bunkichi (Takeshi Sakamoto), an affable ne'er-do-well who married late (after sowing quite a few wild oats in his own youth) is approached by members of the community to head a collection drive for a commemorative lantern, a level of responsibility for which his wife Okiyo teasingly calls into question his suitability. Bunkichi further proves his irresponsibility when his widowed sister Otoku asks him to speak her son Seiichi in order to advise him to concentrate on his studies (instead of frittering his time reading novels) and instead, takes the young man out for a night of drinking. However, when Seiichi becomes involved in an even more serious - and potentially life-altering - predicament, Bunkichi takes him under his wing and assumes responsibility to mitigate the consequences of the young man's indiscretion. Gosho's richly textured home drama is a refined and seemingly effortless examination of duty, sacrifice, and maturity. The film's curious title, a reference to the out-of-favor geisha turned Ginza bar hostess Terue, provides an evocative and haunting metaphor for human transience.