Set in Canton, China in the 1940s, the story revolves around a hapless wannabe gangster who aspires to become a member of the notorious "Axe Gang." Other characters include an obnoxious landlady and her apparently frail husband who exhibit extraordinary powers in defending their turf.

A low level gangster in Hong Kong gains new respect after saving a boss's life in a gang fight. Despite his wife's death in this attack, he appears to be moving up in the Triad family until he discovers the other bosses are not looking out for him when he is double crossed and the gangster he previously hospitalized in the gang fight comes back for revenge. 

A Japanese girl meet a French photographer, and they will rely on each other.

Kihachi Okamoto's The Sword of Doom is likely to strike the unalerted viewer as an exercise in absurdist violence, tracking the career of a nihilistic swordsman from his gratuitous murder of a defenseless old man to his final descent into what looks like a rehearsal for global annihilation, as, in a kind of ecstasy, he slaughters a seemingly endless army of attackers both real and phantasmal. The extreme but stylized violence of Okamoto's 1966 film epitomizes a mode of Japanese filmmaking that profoundly influenced such directors as Sam Peckinpah and Sergio Leone, and it would be easy—and not entirely inaccurate—to read the film in the light of the cynical antiheroic trends that surfaced in genre films all over the world in the 1960s and surmise that it represented the same kind of break with heroic tradition as, say, spaghetti westerns. It should be kept in mind, however, that The Sword of Doom was only the most recent episode derived from a long line of stage and film versions of an immensely long, structurally meandering novel that has remained popular ever since the appearance of its first installments a year after the death of the emperor Meiji (the ruler who oversaw Japan's transition from hermetically sealed feudal state to modern industrialized nation), and whose ostensible theme is religious.

Based in Delhi's Chandni Chowk, orphaned Sidhu is adopted by the owner of Bajrang Bali Parathas, known simply as Dada. Years later Sidhu has grown up and is an expert at slicing vegetables.

Usui - Japan's most unfortunate detective - and Fujimori - a capable profiler who can't read the atmosphere - team up in order to reveal the truth behind a recent case of multiple random attacks. Usui - who got transferred from the criminal division to the equipment department - witnesses one of the stabbing attacks first hand in front of a train station. After arresting the suspect without a warrant, he is tasked to join the following criminal investigation and returns to his former workplace

1941. The Japanese invasion of Malaya. Aishah (Diana Danielle) tries to flee from the invading forces while her village burns behind her. Caught between the Japanese and the Royal Allied Air Force, it sends her further into the state of panic and disarray, and she's nearly killed when an explosion erupts not too far away from her. When she regains consciousness, she finds herself in the loving care of Ibu Yani (Umie Aida) and the protection of her son, Kamal (Remy Ishak). When she sees with her own eyes that her village is no more, she warms up to the idea of making this other village her home. But behind the peaceful facade lies a terror so great, it can only be matched by the atrocities of the war.

Salaryman Masumi goes to great lengths to get his 6-year-old daughter into a prestigious primary school.

Duration: 1 hr. 54 min.

Content Rating: 15+ - Teens 15 or older