性生生活20分钟

冰河时期降至，动物们都急着迁徙到温暖的地方及储存食物。长毛象曼弗瑞德、树獭希德、剑齿虎迪亚戈为了帮助一个人类的婴儿回到父母身边，因而也掉了动物们迁徙的队伍。三只性格各异的动物，觉得集合力量帮助婴儿。一路上，善良的曼弗瑞德总觉得迪亚戈心怀鬼胎，想吃掉婴儿，互相猜疑。他们一起经历了无数艰难险阻，终于能够真诚相对。当剑齿虎迪亚戈的同伴知道它身边正有一个婴儿，饥寒交迫的它们就想迪亚戈把婴儿交给它们当食物，迪亚戈已对可爱的小婴儿产生了感情，无法下手，而迪亚戈该如何选择呢？小婴儿又能否安全回到家中？

一名漂泊的退役士兵在一名刚刚获释的前囚犯的帮助下变成了地下战士，让他们与腐败的警察和雇佣的杀手对抗，后者向他们和他们关心的所有人开枪。

The Deserted Archipelago was my first independently directed and produced film. The film won the Grand Prix at the Nyon International Film Festival and garnered considerable attention both overseas and in Japan. The film follows an extremely simple story of a plain boy who matures into manhood while constantly manipulated by nuns. But woven into this narrative are my own experiences and the history of postwar Japan as well as a series of fantasies. The result is a multifaceted and multilayered objet, the birth of a newly sur-realistic filmmaking. On August 15th, the day the war ended, I was in the third year of primary school. That day, when the reality that I had known turned completely upside down, I was saddled with the trauma of no longer being able to believe in anything. Searching here and there for some kind of spiritual salvation, I finally found the existentialism of Albert Camus. From there, I was able to build up my own kind of existentialism and this film is best understood as based in that “Kanai Katsu Existentialism.” The film was praised by European film scholars Max Tessier and Tony Rayns and was screened as part of “Eiga: 25 Years of Japanese Film,” a special program at the 1984 Edinburgh International Film Festival.

埃尔维拉是一个低成本恐怖电影节目的主持人，她发现自己是新英格兰一位阿姨豪宅的继承人。豪宅里有很多有趣的怪物，她因为想给年轻人带来一些不一样的体验，但却却发生了冲突，。镇上的成年人对她的衣着、语气，对她的一切，尤其是她的性暗示感到反感......