"Butoh: Body on the Edge of Crisis" is a visually striking film portrait shot on location in Japan with the participation of the major Butoh choreographers and their companies. Although Butoh is often viewed as Japan's equivalent of modern dance, in actuality it has little to do with the rational principles of modernism. Butoh is a theater of improvisation which places the personal experiences of the dancer on center-stage. By reestablishing the ancient Japanese connection of dance, music, and masks, and by recalling the Buddhist death dances of rural Japan, Butoh incorporates much traditional theater. At the same time, it is a movement of resistance against the abandonment of traditional culture to a highly organized consumer-oriented society.

The film depicts the youth of Kinzo, a heretic painter who worked in Tosa during the late Edo period, and the hurricane-like inner side of his life.

Filmed only a few months after Tatsumi Hijikata’s first explosive public butoh performance, “Gisei” features Hijikata and members of his Asbestos Hall Troupe in a brutal allegory of a closed society. Shot by noted Japanese film scholar Donald Richie, “Gisei” still conveys the shock that Japanese audiences in 1959 must have felt at the birth of Hijikata's ankoku butoh, or "dance of darkness". Richie met Hijikata through mutual friend Yukio Mishima. They decided to collaborate on a film about segregation. Richie memorialized the film in his diary: “It is more than ever about the death of an individual, a distinct kind of human sacrifice.”

The movie compiles footage taken by Ogawa Production for a period of more than ten years after the collective moved to Magino village. Unique to this film are fictional reenactments of the history of the village in the sections titled "The Tale of Horikiri Goddess" and "The Origins of Itsutsudomoe Shrine". Ogawa combines all the techniques that were developed in his previous films to simultaneously express multiple layers of time—the temporality of rice growing and of human life, personal life histories, the history of the village, the time of the Gods, and new time created through theatrical reenactment—bring them into a unified whole. The faces of the Magino villagers appear in numerous roles transcending time and space—sometimes as individuals, sometimes as people who carry the history of the village in their memories, sometimes as storytellers reciting myths, and even as members of the crowd in the fictional sequences.

Short film in which butoh dancing is used to reflect on the nuclear bombings of Hiroshima and Nagasaki.

Ankoku Butoh is a style of avant-garde dance that established itself in the counter culture experimental arts scene of post WWII Japan. The dance form is thought to have been founded by Tatsumi Hijikata, who both created and performed in butoh pieces from the late 1950’s - through the early 1970’s. In butoh, the style of movement is extremely stylized and deliberate, vacillating between slow and sharp, expressing feelings of dread, sexualization, violence, calmness, birth and “creatureness” among other things. This performance of Summer Storm was originally recorded in 1973 at Westside Auditorium, Kyoto University, Japan, and was Hijikata’s last public performance before his death in 1986 with Butoh of Dark Spirit School. Video version produced in 2003.

Murase is a bodyguard of yakuza group. Ochiai is a police officer who once was a student activist. When they meet, they are surprised how identical they look.

A series of short stories about bizarre crimes committed by females in the Meiji, Taisho, and Showa Eras. Discover 4 famous Japanese murderers: Takahashi Oden, the last woman beheaded in Japan, Sada Abe, a crazy lover, Kunihiko Kodaira, a rapist-killer and finally, the Toyokaku case, a woman who did everything to own a hotel.

The dark sensibilities and cultural resonances of Butoh, the radical Japanese dance movement, are explored in this multilayered work. Profoundly rooted in both traditional and contemporary Japanese culture, Butoh arose in a spirit of revolt in the early 1960s. Characterized by frank sexuality and bodily distortions, Butoh transforms traditional dance movements into new forms, stripping away the taboos of contemporary Japanese culture to reveal a secret world of darkness and irrationality.

Three stories of moral sickness set during Japan’s prosperous Genroku era are told in this bloody follow-up to the sexploitation classic Shogun’s Joy of Torture, the politically incorrect moral lessons paint a trio of tales of tragic heroines caught up in violence, sadomasochism, incest and torture.

The myth of the Sun Goddess who founded Japanese society is seen through the lens of a modern view of history.

Akemi is a dragon tattooed leader of the Tachibana Yakuza clan. In a duel with a rival gang Akemi slashes the eyes of an opponent and a black cat appears, to lap the blood from the gushing wound. The cat along with the eye-victim go on to pursue Akemi’s gang in revenge, leaving a trail of dead Yakuza girls, their dragon tattoos skinned from their bodies.

After escaping from an insane asylum, a medical student assumes the identity of a mysterious dead man, who appears to be his doppelganger, and gets lured to a sinister island ruled by a mad scientist and his malformed men.