Inran oyako: Namade aishite (2001)

Rei is a college student in the midst of finding a job. She confesses her love to Mikio, a senior whom she admires. Mikio soon demands that she perform perverted acts.

Aldin, a vagabond water vendor, embarks of a series of fantastical and tragic misadventures through the Middle East in search of love, fortune, and power.

Plagued by a seemingly endless stream of haunting dreams, Tomoya drifts through life with an almost overwhelming sense of anger and emptiness. Then, one fateful day, he meets the mysterious and beautiful Nagisa, and his world begins to change. While helping Nagisa revive the defunct Drama Club at their high school, Tomoya discovers that she has the same dreams. Their story starts beneath the cherry blossoms, but where will fate lead them?

As the perpetually lecherous Ataru and his friends prepare for a carnival at Tomobiki High School, they gradually realize the days are literally repeating themselves. Any effort to break the pattern dumps them back where they started.

Kyôko, a traumatized young Japanese girl, finds herself struggling with her self-confidence in her adult life. Growing up in a family without her mother and her sister, she constantly questions the rationale of sex and the notion of liberty in modern Japanese society.

A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.

The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.

A 21-year-old girl is released from prison, only to deal with the neighborhood gossip about her and family conflicts. She decides to save one million yen, move to where no one knows her and keep repeating the process.

As Nobita, Gian, Shizuka, and Suneo are making their own space movie, a fleeing bug-sized alien president makes his way to Earth, and needs the help of the kids and Doraemon to stop an oppressive dictatorship threatening his democracy.

Set within music field, this film depicts a love story between a 25-year-old sound engineer and 16-year-old high school student Riko, who posessess a gifted voice. 25-year-old sound engineer Aki is a member of popular band "Crude Play," but right after the band decides to make their major record debut Aki quits the band. But, Aki provides his music to Crude Play under the name of producer Soichiro. Aki begins to date Riko, whose father runs a fruit and vegetable shop. Riko doesn't know about Aki's background, but she likes to listen to him hum. Riko is in a band herself, with childhood friend Yuichi and Sota. One day she is scouted by producer Soichiro.