A hearing-impaired woman with dreams of becoming a professional boxer due to the pandemic is threatened closure of her boxing club and the illness of its ageing president, who has been her biggest supporter, push her to the limit.

Narumi is on bad terms with her husband, Shinji, when, one day, Shinji goes missing. He comes back a couple of days later, but he seems like a totally different person, and he is now gentle and tender. He goes for a walk every day. Meanwhile, journalist Sakurai covers the story of a family that was brutally murdered, when an unexplained phenomenon takes place.

Ryota Nonomiya is a successful businessman driven by money. He learns that his biological son was switched with another child after birth. He must make a life-changing decision and choose his true son or the boy he raised as his own.

在郊外一家书店打工的“我”，与“我”同住一屋的静雄，以及“我”的同事佐知子。往来间，佐知子与“我”渐生暧昧，静雄对佐知子亦暗生情愫……互为朋友和恋人的三个年轻人，和一段带着夏日燥动的肆意青春。

本片改编自柘植义春的同名漫画，讲述了两男一女凄切激烈的性爱和情爱交织的多舛爱情故事。以爱情故事为主轴，惊悚、恐怖、喜剧、动作、人性等，用完全无法预测的规格外的故事讲述，用残酷的现实逃避性爱，强烈地描绘了被推翻的讽刺和悲哀。

Accompagnato dall’amico Miyata, Sano torna a Izu, una località balneare del Giappone dove cinque anni prima si era innamorato della moglie Nagi.

Japan, 1944. Trained for intelligence work, Hiroo Onoda, 22 years old, discovers a philosophy contrary to the official line: no suicide; stay alive whatever happens; the mission is more important than anything else. Sent to Lubang, a small island in the Philippines where the Americans are about to land, this role will be to wage a guerrilla war until the return of the Japanese troops. The Empire will surrender soon after; Onoda, 10,000 days later.

長編2作目の「Playback」（2012）が劇場公開された三宅唱監督が、10年に手がけた長編第1作。12月の札幌、高校卒業を間近にひかえたテツオらは、先輩の伊丹が勤める警備会社に通いはじめ、仕事の役に立とうと車の運転を教えてもらうが……。北海道の荒野を背景に、若者たちの切実な一瞬を美しいモノクロームの映像できりとった青春映画。

In 2024, Kirishima Satoshi, a wanted member of the East Asian Anti-Japan Armed Front, passed away after he gave his own name at a hospital.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter.
Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.