Young Wife's Tale of Agony: Dyed in Sakura (2018)

A young man is plunged into a life of subterfuge, deceit and mistaken identity in pursuit of a femme fatale whose heart is never quite within his grasp.

In East Los Angeles, an 18-year-old struggles between her ambitions of going to college and the desires of her domineering mother for her to get married, have children, and oversee the small, rundown family-owned textile factory.

A first-ever look at the realities of the professional “amateur” porn world and the steady stream of 18-to-19-year old girls entering into it.

After a messy breakup with her high school boyfriend, April strikes up an unexpected platonic friendship with his new girlfriend, Clara.

When household tensions and a sense of worthlessness overcome Evan, he finds escape when he clings with the orphans of a throw-away society. The runaways hold on to each other like a family until a tragedy tears them apart.

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.

The story of a teenage boy called Yu, who falls for Yoko, a girl he runs into while working as an upskirt photographer in an offshoot of the porn industry. His attempts to woo her are complicated by a spot of cross-dressing – which convinces Yoko that she is lesbian – dalliances with kung-fu and crime, and a constant struggle with Catholic guilt.

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.

Shin has shut his heart ever since his mother died when he was young. His childhood friend Kotori has been looking after him ever since. Now that they are in the third year of high school, and it seems like they can finally move forward, another Shin from another Japan has suddenly appeared in front of them.

Nishi is a loser who has a crush on his childhood girlfriend. After an encounter with the Japanese mafia, he journeys to heaven and back, and ends up trapped in an even more unlikely place.