学生时代的雄二（千叶雄大饰）不太显眼，进入社会后创业成功，一下子变得受欢迎。虽然是帅哥，却不擅长处理女性关系。脚踏两只船的雄二往返于不同的电脑之间，为想办法蒙混过关而非常苦恼，然而到了最后3分钟却有惊天大逆转…雄二的两位恋人OL·彩、女大学生·Maya分别由佐津川爱美和奈绪饰演。

学生时代的雄二（千叶雄大饰）不太显眼，进入社会后创业成功，一下子变得受欢迎。虽然是帅哥，却不擅长处理女性关系。脚踏两只船的雄二往返于不同的电脑之间，为想办法蒙混过关而非常苦恼，然而到了最后3分钟却有惊天大逆转…雄二的两位恋人OL·彩、女大学生·Maya分别由佐津川爱美和奈绪饰演。

他，一个每天无所事事、任性生活的"坏男人"，遇到了一个无论是阶层、学历还是生活环境都完全不同的女人，并爱上了她。为了得到这个女子的爱情他愿意牺牲生命，但就在这一刻，他却接到了死亡通知书。因为没有什么值得留恋的东西，他觉得即使就在明天死去也没有关系，就在死亡一天一天的接近他的时候，他对于世界和家庭都有了新的认识。他变了。 　　从那个时候他开始了真正的生活。死亡对他而言并不是夺走他一切机会的恶魔，而成为他新生活的出发点。他剩下的生活会是什么样子……

「朽ちないサクラ」は県警広報課の主人公が、親友の変死事件の謎を独自に調査し、事件の真相と次第に浮かび上がる“公安警察“の存在に迫っていく物語。愛知県平井市在住の女子大生が、たび重なるストーカー被害の末に、神社の長男に殺害された。地元新聞の独占スクープ記事により、警察が女子大生からの被害届の受理を先延ばしにし、その間に慰安旅行に行っていたことが明らかに。県警広報広聴課の職員・森口泉は親友の新聞記者・津村千佳が約束を破って記事にしたと疑うも、身の潔白を証明しようとした千佳は1週間後に変死体で発見される。自責と後悔の念に突き動かされた泉は、自らの手で千佳を殺した犯人を捕まえることを誓う。

「朽ちないサクラ」は県警広報課の主人公が、親友の変死事件の謎を独自に調査し、事件の真相と次第に浮かび上がる“公安警察“の存在に迫っていく物語。愛知県平井市在住の女子大生が、たび重なるストーカー被害の末に、神社の長男に殺害された。地元新聞の独占スクープ記事により、警察が女子大生からの被害届の受理を先延ばしにし、その間に慰安旅行に行っていたことが明らかに。県警広報広聴課の職員・森口泉は親友の新聞記者・津村千佳が約束を破って記事にしたと疑うも、身の潔白を証明しようとした千佳は1週間後に変死体で発見される。自責と後悔の念に突き動かされた泉は、自らの手で千佳を殺した犯人を捕まえることを誓う。

介绍日本樱花最出名几个地方。 　　日本NHK高画质影像严选出来的美丽映像，融合了音乐的共同创作出BD系列「V-music」。本作品不仅收入从古至今一直深深抓住日本人的心「樱花」，深深传达樱花魅力的作品。 　　都市的樱花，乡下的樱花，深山的樱花，夜里的樱花，樱吹雪…等。将日本全国各地的樱花名胜地点，到不知名的名胜，充分收录进去。NHK的庞大高画质摄影机，搭配美丽的樱花的影像，加上疗伤音乐，就有如订缀的映像诗一般。

介绍日本樱花最出名几个地方。 　　日本NHK高画质影像严选出来的美丽映像，融合了音乐的共同创作出BD系列「V-music」。本作品不仅收入从古至今一直深深抓住日本人的心「樱花」，深深传达樱花魅力的作品。 　　都市的樱花，乡下的樱花，深山的樱花，夜里的樱花，樱吹雪…等。将日本全国各地的樱花名胜地点，到不知名的名胜，充分收录进去。NHK的庞大高画质摄影机，搭配美丽的樱花的影像，加上疗伤音乐，就有如订缀的映像诗一般。

Occasioned one of the shortest Oscar award speeches ever. Steven Wright looked at Mike Armstrong and said, "I guess it's a good thing we cut those extra twenty minutes. Thank you".

Occasioned one of the shortest Oscar award speeches ever. Steven Wright looked at Mike Armstrong and said, "I guess it's a good thing we cut those extra twenty minutes. Thank you".

A somber retrospective on the final days of the Sakura-tai theatrical troupe that had arrived in the island of Hiroshima to begin preparations for the staging of a play and, at 8:15 on the morning of August 6, 1945, became victims of the atomic bombing, Sakura-tai Chiru is a thoughtful examination of artistic imperative in a time of uncertainty and national crisis. Using the 1987 commemorative ceremony in Hiroshima and the dedication of a memorial to Sakurai-tai at Gohyaku-Rakanji Temple as a springboard to the re-examine the life and careers of the actors (and in particular, the troupe's director, renowned film and theater actor Sadao Maruyama who had appeared in such notable films as Mikio Naruse's Wife! Be Like a Rose!), the film is composed of a series of interviews with friends, family, and colleagues (among them, Nobuko Otawa, Eitaro Ozawa, Haruko Sugimura, and Osamu Takizawa) and re-enactments of the remaining survivors' tragic fate (four actors had survived the immediate bombing - Maruyama, Keiko Sonoi, Shozo Takayama, and Midori Naka - only to inevitably succumb to death days later). The film traces the evolution of the theatrical troupe within the context of Japanese history, from its early permutation as a government-mandated propaganda tool in the 1930s, to established actor, Maruyama's creative directorship of the splinter organization, to the Great Tokyo Air Raid of March 10, 1945 that caused several (predominantly male) actors to take indeterminate leaves of absence from the troupe in order to help their families (and city) rebuild, to the troupe's decision to send out two of the four remaining male actors in order to scout for replacement actors for their August Hiroshima engagement. These seemingly mundane operational decisions - to continue with the performance despite personal hardship and wartime uncertainty - would inevitably lead to the fate of Sakura-tai in light of the tragic context of world history. Tracing the fates of the four survivors as they sought the safety of family and friends after the atomic bombing only to endure lingering, agonizing deaths from incurable radiation poisoning, what emerges from the film's harrowing and deeply personal account is a sense of exploited and trivialized humanity in the face of military aggression and inhuman politics.