A wild bachelorette weekend in a foreign city spins hilariously out of control in this over-the-top sequel to the box office smash GIRLS. After a drinking contest with some questionable local spirits, three friends wake naked on a beach to discover two are handcuffed to a locked suitcase, one has a strange new tattoo, and none of them have any clue what happened the night before. When they soon find themselves pursued by local gangsters, their only shot at making it home - and to the altar - is to piece together the previous night's events while on the run.

Megumi is a hikikomori who refuses to go to school. She uses the app "Katekyo Plus", in which an avatar of a teacher teaches to study. One day, classmate Souta arrives to report the death of her friend Manami. However that same evening, Megumi receives a email from Manami, who should be dead, which triggers Megumi's avatar teacher to switch to another person.

A former professional boxer has a helpless past. After a diagnoses makes him reconsider his life, he takes his unusual boxing style back to the ring.

One day sergeant Yip takes a strange statement from a man who was caught peeping at ladies' room. The suspect claims some women plan to kill all men, and he was spying on them to collect the evidence. Later the statement disappears mysteriously, and when Yip tries to take another one, the suspect tells him altogether different thing. Yip gets intrigued and tries to sort this case out.

Hye Yeong receives a letter of notification that her father´s grave should be forcibly removed due to modernization projects. Hye Yeong and the sisters are gathered in a long time, but only the brother cannot reach easily.

Nearly everything about Tachiguishi Retsuden defies easy explanation. Like the title, for starters. It literally means something like “The Legendary Masters of Eating While Standing,” while Production I.G. has apparently gone with the more spirited “Tachigui: The Amazing Lives of Fast Food Grifters.” Unlike the majority of his other films, it's a parody. It's animated, but it isn't anime. It's comprised of still photos of actors and settings that have been digitally animated into life, stop-motion style. But that being said, there isn't a whole hell of a lot of motion, either. Major portions of the film consist of long (long) stretches of narraration over grainy, colorized black and white stills. Sounds confusing? I haven't even gotten to the plot. It's like Tampopo meets Jin-Roh, a sprawling (and totally fictional) documentary chronicling dine-and-dashers in Japan's postwar era. The story opens in the tiny standing room only noodle shops that sprang up during the occupation, and ends among the hamburger stands, beef bowl joints, and curry restaurants that serve up the majority of Japan's fast food today. The various protagonists aren't cast as criminals, but as anti-heroes and springboards for social satire. Sounds simple enough on the surface, but this is Mamoru Oshii we're talking about. Their “amazing lives” unfold in an incredibly dense narrative, crammed full of trivia, pop-culture references, and Japanese urban legends, the vast majority completely unknown to foreign audiences.

During Anti-Japanese War, the messenger Lao Wu has He cannot but rely upon a playing boy when he dying in the reed marshes. Thus, bearing in mind the two-sentence code word that Lao Wu has passed on, Da Zhuang, a coward, unskillful and on-track minded boy, journey with his friend Huzi and Xiaoying to send the message. Nobody knows what will happen during this journey.

A school teacher Do Kyung dies as he fails to save his student Ji Yong from drowning. After the two pass away, Do Kyung's wife Myung Ji and Ji Yong's sister Ji un are left alone in the world, having to cope with the loss of their loved ones. Myung Ji travels to Warsaw, Poland, to stay distanced from her harsh reality and meets an old friend to whom she hides her husband's death as if she is trying to reject the tragedy. While she is unable to let him go, Ji Eun is hospitalized as her health condition worsens. Lacking any enthusiasm for life, Ji Eun also struggles to recover. On the day of the Warsaw Uprising, where people commemorate the death of victims of their dark history, Myung Ji returns to her home in Korea, where a letter from Ji Eun is awaiting.