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The Great Horror Family is a 2004 Japanese horror comedy television series directed by Kenji Murakami, Takashi Shimizu, Keisuke Toyoshima and Yūdai Yamaguchi, which aired on TV Tokyo affiliated stations.
Production and sale of Fujichrome RT200 sound film stock ended in 1999. It was the ultimate analogue technology allowing audio to be simultaneously recorded. As the director develops his film shot with expired RT200 stock, unique visuals and sounds begin to emerge.
A new season of the acclaimed series finishes with these twenty sensational shorts capturing the essence of psychological terror with chilling visuals.
Aiko and Hashimoto discovere a VHS videotape called "A Guide to Surviving Zombies From". This is a video with a set of instructions that will help them cope with the invasion of the undead living in Japan.
Aimi and her father move into an old, apartment building and learn quickly that things are not normal here. The landlord warns Aimi and her father of the curfew. First, all residents must cross the rope in front of the property by midnight. Second, no one can move out until a new tenant arrives. Those brave enough to break the rules are unmercifully killed by a mysterious force.
Fifth installment of Deka Matsuri omnibus series. Six films
While hospitalized for appendicitis, Ichiko notices a strange girl in her room one night. Night after night, the girl returns, getting closer to her bed, while Ichiko’s condition worsens. Suspicious, her classmate Masami investigates and uncovers a dark secret hidden within the hospital.
The second volume of the popular ghost story TV series “Ghost Story Shin Mimibukuro,” based on the real-life ghost story book “Shin Mimibukuro,” includes the final series. It features notable actresses such as Mari Hoshino of “Sayonara Midori Chan” fame. It includes all 10 episodes.
In the summer of 1998, the filmmaker went home to Takasaki to film the birth of his brother and sister-in-law's child. Days go by and the child is still to be born. With time on his hands and no one to talk to, the filmmaker finds the phone number for a telephone date club, and calls up with an earnest de- sire: I'd like to talk to a girl. While following the conventions of film-diary form, at some point the filmmaker falls into a times pace tunnel of false memory.