"This is a documentary film about history of Japan in 1945-1970. The main narrative takes shape through describing events in one (burakumin) woman's unstable personal life. It consists of archive footage of political turmoil, demonstrations and other news flashes on one hand, and material from interviews with her on the other. In the interview the woman describes her relationships with various men, starting from the age of 15 in 1945. After failed and violent relationships with Japanese men, she starts to seek comfort by prostituting herself to various American soldiers and sailors. This reflects the development of the post-war relations between United States and Japan, which is shown in the background. Yet she seems mostly uninterested in the political patterns evolving around her, and she even actively seeks denial when she is shown photographs of Vietnamese civilian casualties."

The story starts because of one journey. Seven people who have never met before climb aboard the same ride that goes into a seemingly endless tunnel. Despite the countless trials, corpses that mysteriously appear, past acquaintances that returned from the dead and an unseen danger threatening to swallow them whole, it's as if they are trapped in an enclosed space where there is no escape.

Nijiiro Days follows the colorful lives and romantic relationships of four high school boys—Natsuki Hashiba, a dreamer with delusions of love; Tomoya Matsunaga, a narcissistic playboy who has multiple girlfriends; Keiichi Katakura, a kinky sadist who always carries a whip; and Tsuyoshi Naoe, an otaku who has a cosplaying girlfriend.

Yayoi Kazamaki is a prosecutor in the Kyoto Public Prosecutor's Office, Uji District. She has always been hard on herself, has never made any compromises, and worked hard. Anmitsu is her favorite food, which she often eats with Detective Ishibashi.

The story begins on the heels of the first movie as Light Yagami joins the investigation team in pursuit of the serial killer known as "Kira." While L still strongly suspects that Light is "Kira," Light tries to uncover L's real name so he can kill him with his Death Note. Confusingly enough, a new rash of murders all around the world are taking place, with a "Second Kira" claiming responsibility. Light learns the identity of the Second Kira and suggests they join forces to get rid of L. Will L be able to catch "Kira" before he is killed?

An ace police crisis negotiator, Chae-yoon, is called to the scene where her supervisor is taken hostage. Through the control room monitor, she is faced with the cold-blooded hostage taker, Tae-gu, whose demeanors are difficult to interpret. Against the 21-hour deadline Tae-gu has set, Chae-yoon tirelessly tries to crack the unusually calm perp over multiple video-calls. Eventually, the shocking truth begins to unveil.

The film starts dazzlingly enough. It's 2AM, and the city of Hong Kong is positively bursting with energy. Neon lights flash, cars whizz by and huge masses of people crowd the downtown. It is Saturday night, and it seems all of Hong Kong has come out to play. Chan captures that barely controlled chaos of big city life remarkably well. His camera roves back and forth like a rubbernecking tourist and his edits are sharp, fast and frequent as we are introduced to seventeen different characters. All of them are getting on to the same late night bus from the Hong Kong core to the district of Tai Po.

it is said that time is equal to everyone but things are different to Suryeon who turns 30. She doesn't have much time to live. Her dad died from disease when she was young. She expects the same path.