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Junko and Kohei were each other's first relationship, and got married. A white apartment, a white blouse, and white underwear; their relationship was pure. But then Junko put on conspicuous lingerie and a black dress, and went to attend a class reunion. Suspicious, Kohei followed behind her until she disappeared into a hotel with Okada, a former junior high school classmate. Kohei had learned from his mother to obsessively despise `filth,' and vowed to make Junko utterly filthy. So, he presented his own wife to a gang rape club...
Yoko is an ordinary housewife living in an ordinary apartment block. She has no real complaints as she goes about her tedious days, although her husband, Shinichi, is rather predictable in bed. They have one son, Junichi, and Yoko feels at a loss regarding his recently-acquired adolescent interest in sex and his secret stash of erotic magazines. Junichi is about to write his junior high school entrance exams, so he’s heading off to cram school camp for New Year’s. Before going, he makes a surprising suggestion, “Why don’t you guys go somewhere for New Year’s?” Yoko and Shinichi are suddenly faced with the prospect of New Year’s apart from their son. How will this couple, who’ve already lived half of their lives, change their behavior when it’s just the two of them?
Chiho has prohibited her husband, Takahashi, from smoking while she is trying to become pregnant. Takahashi hasn’t told his wife he was laid off, and has a paid sexual encounter with a high-school student, attracted by the pungent odor of her cigarettes, Peace Regulars.
Sachiko and Yoshida are newlyweds, and have just moved into a newly-constructed apartment with completely white rooms. It’s reasonable to expect that they would be enjoying their newlywed life, but Sachiko is refusing to go along with Yoshida’s sexual demands. One day, Yoshida’s junior colleague, Kato, shows him a video. Its title is White Room: Evening Classroom Inspection, and in it a girl is shown holding a photograph of her mother against her thigh while engaged in fondling. But the astounding thing is that it is a room in their newly-constructed apartment! Yoshida stealthily takes the video home, but Sachiko sees what it contains.
Oda is a cowardly and boring man, his only redeeming feature being his diligence. He continues to live with his wife, Ayane, but they can't seem to produce children and are troubled as to whether their relationship will survive. One evening Oda returns home to find a pair of blue toy handcuffs hanging on the doorknocker. Using them, Oda humiliates Ayane. Although bewildered at first, Ayane begins to respond, and Oda becomes increasing excited as he sexually assaults her. In truth, the blue handcuffs were Ayane's contrivance. There was a time in the past when she used to reach climax...
Mike Hama, Private Detective, is a chain-smoking, wisecracking tough guy with a weakness for the ladies and a soft spot in his heart, especially for his kid sister Akane. Mike's so down on his luck he'll take any case, from finding a lost pet to spying on cheating spouses. But every now and then, along comes a client with dubious and dangerous case… and that's when Mike shows his stuff.
Takahiko Tokito is a doctor at a big medical corporation. He has decided to run away with his lover, the wife of the president of his company. But before he is able to leave, he has to kill her husband and make it look like suicide.
Second modern remake of the Kaiki Daisakusen tv show.
"Ryoko!!" is a four-episode competitive series created by Toshihide, a leading director in the modern Japanese film industry, starring actress Shigeru Muroi. Ryoko, who has absolute values within herself and is always nihilistic, yet compassionate and tearful, is played by Shigeru Muroi, who can now be said to be a charismatic actress of today. Tsuyoshi Toshige is the original story and director of the first episode, and Junji Sakamoto is the director of the second episode. The first unique film produced by the most unique individuals in the Japanese film industry
Minako (TANAKA Yuko), begins her day running up and down the hills of her hometown delivering milk door to door. When that's done, she heads to her day job as a supermarket cashier. Minako is 50 and single. In one of the houses to which she delivers milk is a man with whom she has secretly been in love since high school. The man, Keita (KISHIBE Ittoku), lives with his wife Yoko, who is terminally ill. Caring for her at home, he works in the children's affairs section of the local municipal office. Though he insists that he wants nothing more than an "ordinary" existence, his life is in turmoil below the surface. The director uses a variety of narrative devises to portray the loneliness, isolation, and hope of these people who have seemingly allowed their goals and dreams to slip away, whilst keeping them agonizingly close to hand.