備注：已完結
類型：日劇
主演：賀來賢人 廣末涼子 井浦新 夏帆 工藤阿須加 佐久間由衣 立花惠理 田
語言：日語
年代：未知
簡介：這可以被稱作刑偵劇嗎——？ 當我睜開眼便發(fā)現(xiàn)身旁躺著一具女刑警的遺骸。 我的手里握著槍。而我這數(shù)月間的記憶卻不翼而飛了。是我殺了她嗎……還是說我是被人陷害的…… 嫌疑人是「我自己」和「我眼中的所有人」。 對我產生懷疑并步步緊逼的同僚們，一夜之間從同事變成了敵人。 而我的伙伴只有死去的女刑警那幼小的獨子。 不僅如此，本案似乎還與未解決的「十億日元搶劫案」的真相有關。 殺害女刑警的是誰？搶走十億日元的又是誰？ 懷疑不斷升級，背叛接踵而來。終極勢不可擋的懸疑劇在此開幕！只身一人的刑警對邪惡發(fā)起斗爭，顛覆想象的限制級刑偵劇！本劇從開始到結局，「驚嘆」從未停止。
備注：已完結
類型：科幻片
主演：厚木拓郎 細山田隆人 細田善彥 吉田玲 成海璃子 山崎纮菜 常盤貴子
導演：大林宣彥
語言：日語
年代：未知
簡介：在日本廣島縣尾道市海邊唯一的一家電影院迎來了閉館，在風雨交加的閉館夜，通宵上映著日本戰(zhàn)爭電影特輯，有三位來看電影的青年被突然襲擊影院的閃電所包圍，時空穿越進入了電影里的世界。江戶時代、幕末亂世、戊辰戰(zhàn)爭、太平洋戰(zhàn)爭……三人逐漸發(fā)現(xiàn)自己正在游覽銀幕中的戰(zhàn)爭電影的世界，隨著戰(zhàn)爭歷史的變遷，電影技術也從黑白無聲發(fā)展到有聲電影和彩色電影。舞臺轉到了原子彈爆炸前夜的廣島，三位青年能否救下他們遇到的移動劇團，改變命運？
備注：已完結
類型：愛情片
主演：宮澤冰魚 小西櫻子 細田善彥 平井亞門 蘆那堇 田中穂先 鈴木浩文 高
導演：葛里華
語言：日語
年代：未知
簡介： Haru, a struggling magazine editor, meets the painter Toru during research for one of her articles. Toru is autistic and straightforward in expressing his thoughts. Haru is drawn to his honesty, and a deep emotional bond forms between the two despite their different personalities. Director Rika KATSU sensitively portrays their unusual relationship. 源自：https://db.nipponconnection.com/en/event/1367/spring-in-between
備注：已完結
類型：恐怖片
主演：斯文·索奇塔 細田善彥 Thanet Thorn 每熊克哉
導演：Sokyou Chea Inrasothythep Neth
語言：日語 / 高棉語
年代：未知
簡介：Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present. Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.
