Katsuyuki Hirano

Hideaki Anno's documentary about the making of Shusuke Kaneko's Gamera 3: Revenge of Iris. From concept to film, the documentary is a video diary of the film's production.

In 1997, Hirano Katsuyuki, a married, middle-aged AV director, and his 26-year-old actress and lover, Hayashi Yumika, set out to cycle from Tokyo to Hokkaido. Two video versions of their trip already exist, the intimate documentary Yumika and its gonzo porno alter ego 41-Day Adultery Bicycle Tour. Hirano’s Kantoku Shikkaku reframes this ambiguous relationship in light of Yumika’s death in 2005.

Shiro and Keita didn’t manage to enter university and are stuck in their hometown delivering newspapers. Shiro persists on finishing a film they started, but Keita is not very enthusiastic.

The retirement movie for adult film actress Ai Uehara, directed by Katsuyuki Hirano. A big fan of Ai Uehara have to go on a 100-kilometer marathon to have sex with her.

Don't get it twisted: Yumika Hayashi is way more than just a porn star. She's a Rorschach test, film theory with curves, her screen image throwing off endless refractions within the hearts of those who knew her, loved her, or just got off to her. The "iron woman" of Japanese erotic film, best known for critically-acclaimed pink eiga LUNCHBOX, Hayashi died in 2005 at age 35, but in ANNYONG YUMIKA, the new documentary by Tetsuaki Matsue (LIVE TAPE), Yumika's legend is reborn, her passion made immortal. (Description by Subway Cinema)

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The documentary of director Katsuyuki Hirano and adult film actress Yumika Hayashi's 41-day biking trip.

Ryo and Natsu love each other immensely. They are also able to feel each other's pain. Their relationship is troubled when Ryo allows himself to be seduced by an office employee.

Ira, a girl who seems to be leading a normal high school life but is apparently working as a prostitute, and Kishida, a seemingly ordinary cram school student who may have raped her, are bound together by a strange and poignant relationship...

When Otomo Katsuhiro saw his manga Good Weather credited as the “original novel” he burst out laughing. There’s not an iota of his book anywhere in the film. Made in the same year as Sono Sion’s A Man’s Flower Road, Hirano Katsuyuki’s Happiness Avenue (where Sono plays a role) is madder and more abandoned, in both filmmaking and content. Lovelorn Masahiro goes on an odyssey to find fulfilment of his heart’s desire, and the sea he traverses are Tokyo’s open sewages.

A story of the restrictions of family life, the desire to break free, restlessness, helplessness and the fear of becoming an adult.

Drawing our attention to the ambiguities of sexuality, queering the relationship between body, image and voice; the filmmaker refers to it as an indirect reflection on the worldwide AIDS crisis of the 1980s.

Two years after the film "Yumika", Katsuyuki Hirano and Yumika Hayashi go out on a bicycle trip again. Included in the "Yumika" 1997 DVD.

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The film is divided into two chapters, "First Love" and "Endless Love", in which the author, Yoko Oguchi, chases after a different man, each saying "I love you! and chases after another man. In the second chapter, she screams in public, has sex with a man, shaves her hair and gets (really) yelled at by her parents. Beyond the fictionality and perfection of the drama, the author's daring and daredevil performance have a strong impact on the viewer.

Nagaremono zukan is a documentary video, release from V&R Planning (AV). "Flower Picture Book" is the second work in the bicycle trilogy after Yumika. A very private sexual movie with Tomoko Matsunashi, right after Hirano broke up with Yumika. The violence of the camera is clearly increasing. If Yumika was the light, Nagaremono zukan is the shadow. There are two version of Nagaremono zukan, the censored one and the original hardcore one, with additional scenes, better quality and longer runtime.

A man (Masahiro Sugiyama), an idol otaku, picks up a monster fish and starts to raise it at home. At the same time, he moves in with a runaway girl (Yoko Oguchi), and the friction between them becomes more intense. The film was made at the end of the eighties, in response to the sense of stagnation in the provincial cities. It's a film with a darker side than my previous film "Love on the Street". It also has the strongest theatrical colour of all the films so far, but it shows the bankruptcy in a different way to "Street Corner of Love -".

A war breaks out between Racco and Kappa. Shouts, outbursts and bloodshed. The camera gets involved and the scene turns into a lawless zone.

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Omnibus work of three directors - Baksheesh Yamashita, Company Matsuo and Katsuyuki Hirano (3 AV gals in 3 ACTS). A rich one-on-one confrontation between the director and the actress.