鬼談百景

備注：已完結(jié)

類型：恐怖片

主演：岡山天音 藤本泉 森崎ウィン 吉倉あおい 長井短 三浦透子 細(xì)川佳央 

導(dǎo)演：中村義洋 白石晃士 安里麻里 巖澤宏樹 大畑創(chuàng) 內(nèi)藤瑛亮 

語言：日語

年代：未知

簡介：　　擦鬼而過：四個年輕人深夜外出試膽，結(jié)果碰上好朋友。密閉：K和男友分手后，卻有個詭異的旅行箱留在她的家中。影男：外婆帶著孫子們睡午覺，這時外面?zhèn)鱽砭薮蟮捻憚?。尾隨著你：高中女生放學(xué)途中，在草叢中看到一個穿著工作服面呈死灰的男人。哪來的小女孩：據(jù)說，某座學(xué)校的晚上會看到奇怪的身影?？瞻最l道：迷上了神秘電臺的男孩，陷入萬劫不復(fù)。曾一起眺望：某校一名女工上吊自殺，和他有染的男教師經(jīng)歷了最恐怖的時刻。紅色的女人：學(xué)校里開始流傳紅衣女人的傳說，遇到她后會發(fā)生什么事情？小偷：附近人家的女主人懷孕了，可最后誰也沒看到她生下寶寶來。繼續(xù)吧：一群小學(xué)生在墓地胡鬧，他們相繼受傷，但不知為何卻停不下來?！　”酒瑸樾∫安挥擅栏鶕?jù)讀者投稿而撰寫的短篇怪談小說集《鬼談百景》改編，是劇場電影《殘穢》的聯(lián)動影片。

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公園的沙池

備注：已完結(jié)

類型：劇情片

主演：カワシママリノ 村上由規(guī)乃 柴田千纮 西山真來 佐伯美波 中村瞳太 風(fēng) 

導(dǎo)演：黑川幸則 

語言：日語

年代：未知

簡介：　　After some misunderstanding, Sakaguchi is hired to make a tourist guide video on Tobako (a fictitious name for Kawaguchi) in the outskirts of Tokyo. This element in the script sparks off a fanciful wandering strewn with unexpected meetings. First with Kitagawa, thanks to whom Sakaguchi landed the job. Then with a seamstress, and then with Yoshino, with whom a half-hearted romance emerges. Thus the narrative unfolds, in halts and swerves, espousing unexpected meetings, and offering the strolling character an opportunity for displacements from one place to the next. The deserted town has come to a standstill – the shooting took place during the lockdown – and this acts as a metaphor for the idleness of the characters. Garden Sandbox is light and nimble, whereas its main character hasa limp. Her demeanour and her stiff body exude a peculiar quality, somewhat comically at odds with the setting. Apathetically playing along, the young woman gleans from each character some pieces of information about the town and, then, touch by touch she delineates its picture: ultimately, the place comes acrossas a post-industrial locale whose foundries are now obsolete. Sakaguchi’s very meanderings lead her to a rich family’s house for a sewing lesson. In this pivotal scene, the lady of the house invites her to don an upper-class wedding dress. Through a gesture both radical and powerful, which itself informs the dynamic of the film as a whole, a gleeful snip of the scissors transforms the item of clothing into the ultimate chic of haute-couture design. What weaves together this truant escape whose motifs and fabric seem inspired by Jacques Rozier’s films, a crumbling industrial heritage and the transforming of a traditional wedding dress? With Garden Sandbox, whose title is a reference to the type of sand used in the foundries, joyfully and playfully, Yukinori Kurokawa interrogates the concepts of mutation and (re)use as sources of boundless possibilities. (Claire Lasolle)　

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