青年誌編集部を舞台に、主人公・山崎良平が業界で成長していく姿を描いたOVA。憧れだったポテトボーイ編集部の面接に、遅刻すれすれで登場した良平。さらに面接官であった織田由貴の美しさにこともあろうに勃起してしまう。だが、その大胆な性格を買われ、ついに彼は編集部員となるのだが……。国友やすゆきの原作コミックを、アニメ制作スタジオ・マッドハウスの中核であるスタッフや外部からの豪華作画陣でアニメ化。劇中で流れるTVCMの映像を『バンパイアハンターD』などで海外から高い評価を受ける川尻善昭が担当し、原作の国友やすゆきもナレーションで参加するなど、注目点の多い作品だ。

永井荷風の没後一周年を記念して、豊田四郎監督が同名小説を映画化した文芸作。東京の郊外、隅田川の東にある遊廓で中学教師・順平は、お雪という娼婦と出会い恋に落ちる。だが、そんなふたりの関係が、順平の妻・光子の知るところとなり…。A village girl goes to Tokyo and becomes a hooker to support her ailing mother. While there she meets an unmarried teacher (at least he says he's unmarried) and falls in love. When she learns that he lied and is married to a woman whose child was fathered by another man, she is crushed. He returns to his wife. The woman becomes more distraught when she learns her uncle has misused the money she has sent. As the final straw, her mother dies, and the girl becomes sick.

With realistic acumen and artistic expertise, ADIEU LACAN portrays the struggles of a young woman, Seriema, who is trying to understand why her path to motherhood has reached an unbearable impasse. Following two miscarriages and the possible loss of her marriage, Seriema travels to Paris in 1972 to undergo psychoanalytic treatment with the maverick French analyst, Jacques Lacan. Her analysis is an attempt to help her to disentangle the enigma of her question: why has motherhood become a seeming impossibility? Inspired by the story of Betty Milan, a Brazilian psychoanalyst and writer, it follows closely her own actual psychoanalysis with Lacan. Based on her play "Goodbye, Doctor" and her novel "Lacan's Parrot," in which Milan recounts her analytic work, ADIEU LACAN offers an insightful and accurate account of an actual psychoanalytic cure.—Mavis Himes

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."