Seiroku Nakazawa

Petrel Hotel Blue is about friends Yoji, Yukio, and Kohei attempting a vehicular robbery. Yoji never shows, Kohei flakes at the scene, and Yukio takes the fall for the failed endeavor. Years later, Yukio is freed from prison and enacts a revenge plot against Yoji. From this point, one might anticipate an unsympathetic vengeance story consistent with the Asian arthouse of the past decade, but with Wakamatsu the intrigue is a pretense. Yukio traces Yoji to the isolated island hotel that he now manages with a sensuous and silent woman named Rika. From this desolate environ, literally a kind of primordial Nowhere replete with ominous black volcanic sand, reality quickly deteriorates. Tensions and rivalries rise, things are said, people are killed, dreams are inhabited, space and time crumble. The catalyst of this degeneration, and the cause for Yoji’s absence all those years ago is one and the same: Rika. And she has curves that will make you blush.

The Isokaze, an Aegis-class escort vessel, sets sail on a routine training exercise, playing host to a platoon from the Fleet Training Group. No sooner is the Isokaze on open water, however, then the FTG reveal themselves to be terrorist stowaways who kill the ship's captain, send the rest of the crew overboard and take control of the vessel. The ship is carrying a secret biological weapon which the terrorists are now threatening to use to level Tokyo! Only a stowaway NCO, Sengoko (played by Sanada Hiroyuki from Ring and Twilight Samurai) is in a position to stop them - but does he really have what it takes to save the day? Playing like a cross between a sea-faring version of Top Gun and Die Hard, director Sakamoto Junji shows that it's not just Hollywood that can produce thrill-a-minute action spectaculars.

For his fourth full feature, Toyoshi Toyoda has abandoned the theme of the angry young man, examined in depth in Pornostar, Blue Spring and 9 Souls. Kuchu Teien is, on the face of it, more a drama, a character study, than a typical Toyoda genre flick. Yet within this beautifully structured and photographed film, there lies a dark soul. Ostensibly the story of a happy family, it becomes increasingly clear as the movie progresses that the Kyobashis are anything but. Despite a family agreement that they are all open with each other, the entire household knows the opposite is true.

After spending over half his life in prison, ex-hitman Kunihiro is determined to go straight. But the shortcomings of the new gangs mean that he is soon having to call on his old-school yakuza talents. And when he falls for Asako, a beautiful piano player, she unknowingly ignites a fire within Kuni that will immolate everything and everybody around him. Regarded by many as his masterpiece, Onibi has all the hallmarks of a Mochizuki film, with the gangster elements tightly compressed and controlled to allow space in which a subdued romance can bloom. Coming from a background in porno cinema, this master of sexual relations injects a fresh passion and tension into the macho world of the yakuza film.

In different parts of Tokyo, four young and seemingly healthy people suddenly die of heart failure at exactly the same moment. Reporter Kazuyuki Asakawa decides to investigate the deaths, and discovers that the four had stayed at a rural inn together just a week earlier. At the inn, he comes across a strange video that ends with a message saying that anyone who watches it will die exactly seven days later. Now the clock is ticking for Asakawa. Can he break the curse in time? Written by Jean-Marc Rocher