Kyoko Akiyama

Takeshi Hongo is a promising young man with a passion for motorcycle racing. However, his dreams are suddenly ruined when he gets kidnapped by Shocker, the evil secret organization planning to dominate the world. After being remodeled into a cyborg, Takeshi escapes and swears to protect the world from the inhuman monsters.

It's the 30th century and time travel is illegal. To help monitor and police time crimes, the Time Protection Department is founded. But when Don Dolnero and his nefarious gang manage to trick four new TPD cadets into allowing them travel to the 20th century, the four cadets are forced to pursue them for the sake of history. There, in a time foreign to them, the cadets enlist Tatsuya Asami, a young martial artist, to aid their mission. Together, these five youngsters become the Timerangers. And though they try to live as ordinary 20th-century citizens, the Timerangers dedicate their lives to stopping Dolnero and others that may follow in his footsteps, attempting to forever alter the proper timeline!

A sound only she can hear, a girl only I can see. One night, Maki, a psychology major at university, meets a girl crouched by a guardrail. One night, Maki, a psychology student at university, meets a girl crouched beside a guardrail who tells him she hears the sound of the guardrail. However, when her friend comes to check on her after hearing Maki's story, he does not see the girl. When the girl regains her memory, Maki begins to understand who she really is... By interweaving a sound story and an episode of psychoanalysis, the film succeeds in turning a love story with a ghost into a serious psychic fantasy. The fragility of Kyoko Akiyama as the ghost makes the film even more compelling.

This director is the worst and the best. The protagonist, Wakaizumi, makes films with his university friends, but despite being a director, he has no credibility at all due to his selfish and unprincipled nature. He has no finished films. All they have are rumours that he is a strong fighter and that he has eaten cockroaches. Wakaizumi says he wants reality in his films, but he does not know what reality is. Days seem to be unchanging. But as much as something about him hurts people, something about him attracts them, and the filmmaking continues. The well-crafted double structure in terms of composition, direction and camerawork goes beyond the framework of a self-proclaimed 'personal history film' and gives us the best of both worlds: fiction and non-fiction.