A documentary film that delves into the life and cinematic career of one of Japan's most prolific directors: Ishiro Honda. The film will spotlight Honda's filmography from both a historical and personal perspective, exploring his contributions to the Japanese film industry and his firsthand experiences of war, from which he barely survived. It will also delve into his profound feelings regarding the atomic bomb, a subject that became an obsession for him and was frequently reflected in his films. The documentary will analyze Honda's body of work through interviews with individuals who had the privilege of collaborating with him, as well as experts on Honda's films from both Japan and the Western world. Furthermore, the film will uncover Honda's friendship and professional relationship with director Akira Kurosawa.
His story follows a schoolgirl named Akari Tokimiya and the fantastical adventure which occurs when she visits the memorial service of her grandfather Kenzo, a master special effects man. She has unhappy memories of the old man and his passion projects, the last of which he died during the making of. At the memorial service, she meets classmate Takuya, a tokusatsu superfan, and a strange person named Hozumi, the star of the movie Kenzo was making when he died. Hozumi has with him a prop from the film, the titular “Brush of the God,” which transports Akari and Takuya into the world of the movie where they face fearsome Kaiju, including the legendary Yamata-no-orochi who is attempting to destroy everything. If they are to survive and get back to their homes, Akari and Takuya must find out the secret of the movie.
A young girl named Ruka, who had been living a wandering life in Osaka, is taken in by Fumi, an elementary school teacher. Later, Ruka spends time in Obihiro, Hokkaido, with Natsuhiko, who was her sister's lover, and forms a friendship with a high school girl named Maori. However, the fate that awaits her is always harsh. After arriving in Tokyo, Ruka becomes a musician and begins singing on the streets under the name Kyrie. There, she reunites with Maori, who now goes by the name Ikko and survives in Tokyo through her ever-changing cosplay and relationships with men. From Ishinomaki, Osaka, and Obihiro to Tokyo—Ruka, while being tossed about by fate, weaves a grand lyrical poem through her determined life.
Luca lost her family in the Great East Japan Earthquake causing her not to be able to speak. However, her singing voice shakes the hearts of those who listen to her. It is a hymn of compassion played by Luca and the people.
EVANGELION is coming to an end. NHK spent 4 years with exclusive access to director Hideaki Anno, documenting the creative process behind the final EVANGELION: 3.0+1.0 THRICE UPON A TIME. For the first time, the camera is allowed inside Anno's studio. The documentary attempts to capture why master filmmaker Hayao Miyazaki (STUDIO GHIBLI) describes him as one who sheds blood for his films.
An actor who has lost his job due to the coronavirus buys capsule monsters online and begins to raise them.
Japan, 1954. A legend emerges from the ashes of Hiroshima and Nagasaki, devastated by atomic bombs in 1945. The creature's name is Godzilla. The film that tells its story is the first of kaiju eiga, the giant monster movies.
A unique black comedy set in Ginza Cinepathos, a long-established movie theater that closes at the end of March 2013 while being familiar to movie fans with its retro appearance and unique lineup. Unique guests visiting the theater draw a human pattern during breaks.
Shinji Higuchi is a movie director, storyboard artist and SFX specialist. He is one of the top special effects wizards in Japan, often working in animation. Higuchi is one of the original founders of Gainax, along with Hideaki Anno, Yoshiyuki Sadamoto and Takami Akai. Higuchi gain recognition for his special effects work in Shusuke Kaneko's Gamera trilogy and is a frequent collaborator with Hideaki Anno on both anime and tokusatsu projects.
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