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.

三桥贵志以转校为契机，决定在新学校“嚣张”一把，从此做个不良少年。为了能在同学中获得存在感，他还特地去发廊弄了一头金色卷发。而和他转到同一所学校的伊藤也有同样的想法。在开学第一天，伊藤和三桥就发现了彼此的秘密，也因此结成盟友。三桥的信条是“无论用多么卑鄙的手段，只要能赢就行”，所以，在和别人打架的时候只要能玩阴的就绝对不正面对抗，但他真正的实力也不容小觑。伊藤为人处世相对正经，有时候甚至会慢半拍，也因此常常被三桥利用且被蒙在鼓里，而在打架方面，他战斗力超群，有着不服输的信念。两个人一起挑战校内校外的不良少年，引发了一连串爆笑事件。

为偿还债务而夜以继日工作的十六岁女孩，在偶然中遇到了一个在黑社会充当古惑仔的十八岁少年，两人忘我地相爱，然而，等待他们的命运却又如何呢？

在一个明媚的日子里，日本国际机场，欧洲少年代表队在欧·杜米教练的带领下来到日本，即将和日本代表队的各位展开新一轮的较量。在历次对抗中，虽然曾经是势不两立的对手，但是大空翼他们已经和施奈德等人培养出深厚的友情。与此同时，日本代表队面临着人员缺席的严峻状况。首先，若林源三因隶属西德球队而被禁止出赛。高傲的日向小次郎在接连败给大空翼后不辞而别，躲入深山进行艰苦修行。主力战将三杉也被医生限定只有十分钟登场机会。面对发誓复仇且实力更强的欧洲代表队，日本的各位如何来应对这次前所未有的挑战呢？本片根据高桥阳一的同名漫画改编，是该系列动画的第二部剧场版。