原作は漫画家・長谷川町子の自伝エッセイ漫画『サザエさんうちあけ話』で、主人公マリ子は、長谷川町子の姉・毬子である。サザエさん誕生までの歩みと、そのこぼれ話を中心に熊谷真実の主演で描いた。

Amata is about two lives that graze one another without meeting, connected by invisible threads and choices that can change a person’s fate. With its intimate, sensual and deeply human gaze, Amata singles out the bodies and souls of its two lead actresses in order to explore what it means to choose. And love. Nunzia is an out-of-town student with a crushing secret: an unwanted pregnancy. Isolated, she weighs a grueling decision: keep the baby or give it up. In another place, Luca and Maddalena endure the emptiness of a new life that doesn’t arrive. After a long, fruitless trial, a chance presents itself: delicate, luminous, full of anticipation. Amata is the story of two women who intersect, fragile fighters yet strong at the same time, who imagine love, freedom and motherhood in its many forms. And a third woman, Margherita – the child. Torn between different worlds, and silent carrier of a bond that unites them, though no one knows.

原作は漫画家・長谷川町子の自伝エッセイ漫画『サザエさんうちあけ話』で、主人公マリ子は、長谷川町子の姉・毬子である。サザエさん誕生までの歩みと、そのこぼれ話を中心に熊谷真実の主演で描いた。

阿内迟迟不能走出失去父亲的痛苦，她的朋友出于好意骗她去参加击剑俱乐部的剑术比赛，希望能帮她重启生活。可不巧的是，她在会场遇到了父亲自杀当天来救援的消防员，那一天的回忆和伤痛再次袭来……

布鲁塞尔一所学校，女孩因为打扮和性向有违伊斯兰教义，被同班同学欺凌甚至施暴。非典型教师阿玛希望借此把多元思想带入课堂，以消除不同族裔信仰学生之间的界线，踩界举动触怒了不少原教旨主义者，令她几乎失去立身之地。另一边厢，女同学的出柜选择，也意味着把自己推向边缘⋯⋯

脸上涂着歌舞伎般的白色妆容， 　　穿着纯白礼服打扮得像贵族小姐般站在横滨街角， 　　她从不说自己的真实年龄, 　　也从不告诉别人自己的名字； 　　她在战后50年来做妓女维持生活， 　　以绝代美女而知名， 　　因高雅的品位而成为横滨一道独特的风景线。 　　她被横滨人称为“横滨的玛莉桑”。 　　1995年的冬天,玛莉小姐在横滨街头的身影突然消失了。 　　对不透露自己的玛莉小姐置之不理的人们， 　　越来越多地谈论起她， 　　她化身成了都市传说里的女主角。 　　但是那些曾经照顾和帮助过 　　玛莉小姐的少数人一直都存在着， 　　身患绝症的法国民歌歌手永登元次郎就是其中一个。 　　在所剩不多的生命里他回忆着玛莉小姐， 　　越来越强的思念让他想再见到玛莉小姐， 　　在她面前唱起他们共同的歌…。 　　本片参展加拿大多伦多国际电影节、 　　温哥华国际电影节、 　　釜山国际电影节等多个国际电影节， 　　在日本国内获得文化厅纪录电影优秀奖、 　　横滨电影节新人导演奖等9个奖项。

恶梦乃是“梦魔”欲闯入现实世界，而在睡梦中侵蚀我们所造成。每晚都为恶梦所苦的高中生‧藤原梦路，他身怀一项不可思议的能力，就是能看见人身上散发的颜色，藉此预测对方今晚的梦境。准确性虽只有三成左右，但唯有恶梦能百分之百预测到，包含自己是否会作恶梦！某天他醒著的时候作了如同每晚梦境般的“白日梦”，在危急当中，一名少女“玛莉”现身解救他。

Shows the strife and development of a girl forced to move into her father's house under Islamic tradition, following her mother's second marriage.

Shows the strife and development of a girl forced to move into her father's house under Islamic tradition, following her mother's second marriage.

1954, the Malabar Coast. British and Anglo-Indian identities blur when an English-woman with a neglectful husband births a sickly baby. Cotton Mary, a hospital aide and moralizing Anglophile who claims her father was a British officer, takes over the infant's care and, without a word to the mother, takes the baby daily to her sister to nurse. Mary moves into the English household, taking over more and more duties as she plays on the mother's fatigue and lack of spousal counsel: in effect, Mary colonizes the English household while she pilfers its stores and tells tall tales to her own family. For how long can Mary sustain her rule before the Englishwoman stands on her own feet?