小男孩阿泰（Biel Durán 饰）正经历一连串的烦恼，人塔比赛他因恐惧无法爬上塔顶，母亲则为他生下一个小弟弟。弟弟的出生夺取了母亲对自己的爱，更夺去了之前只属于他的乳房。失望的阿泰对着月亮许愿，希望得到一对新的乳房。
许是美梦成真，不久后一个二人杂耍班子来到小镇。男人莫里斯（Gérard Darmon 饰）放屁功夫了得，女人艾丝丽塔（Mathilda May 饰）则舞姿翩翩、丰满诱人。阿泰和小青年米盖（Miguel Poveda 饰）都迷上了性感的艾丝丽塔，他们为了心中的女神各显本领……
本片荣获1994年威尼斯电影节Golden Osella奖最佳剧本奖。

全球第一部3D情爱影片问世！英国《情人指南3D版》（The Lovers' Guide 3D）旨在教导大众如何增进闺房乐趣。演员全是来自各行各业的真实情侣，包括性感写真女模、店员和木匠等。
《情人指南》原版是在1991年拍摄，现已被视为情爱指导影片的经典之作。事隔20年，制片佩吉（Robert Page）决定推出3D版，让临场感加倍升级。新版打出「真实情侣共同歌咏身体与心灵的性之舞」号召，总共分为12段，每段约5分钟。
《情人指南》系列已经有20年的历史，2011年情人节推出3D版本，更多的技巧指导和更大胆细致的性爱场面，指导传授性爱经验。以教导爱侣如何製造闺房情趣的英国《情人指南》（The Lovers' Guide），自1991年拍摄后，被视為经典教学大典，如今英国拍摄為3D版让临场感更加倍。影片筹拍时，吸引超过百位情侣前来试镜，他们毫不扭捏，大方在眾人面前激情演出，甚至有对情侣还忘情到跌坐地上。
《情人指南》以「真实情侣共同歌咏身体与心灵的XY之舞」為号召，内容共分12段，每段约5分鐘，情侣演出时，会有旁白在一旁提供建议指导。

37岁的女教师维奥娜（马莉卡•劳伦丝 Marika Lagercrantz 饰）美艳动人，当丝袜推销员的丈夫却整天出差，就算回到家也只是听音乐、喝闷酒，让她心里非常寂寞难耐。班上15岁的青春少年史迪（约翰•威德伯格 Johan Widerberg 饰）懵懂无知，有着青春期特有的冲动。师生间两眼对视的瞬间，自然而然产生了相互依赖的畸形恋情。
当他们完全沉醉在肉欲之欢里时，史迪对同龄的女生已经毫不感兴趣，拒绝了同班同学的暗恋。维奥娜的丈夫其实早已知道了妻子秘密，但他并没有揭穿妻子的秘密，而是继续饮酒、听音乐。此情此景，让史迪开始对自己的肉欲和这段畸形恋进行反思。

故事发生在上世纪民国年间。道景（王同辉 饰）是江阳县知事呂敬仁（王庆祥 饰）的公子，此公子有两大癖好，自幼对女人不感兴趣，单与貌美男子狎猊，并有收藏女性衣饰及精美银饰怪癖。其妻碧兰（孟尧 饰）婚后等于守活寡，她对丈夫的淫匿行为深恶痛绝，不甘白来人世一回的碧兰终于红杏出墙，与宣恒银饰银匠少恒（谷洋 饰）好上了。纸里终究包不住火，此事被公爹吕敬仁察觉，他表面不动声色，暗地里想招。这天，他以明德府内女眷做银饰为名，让碧兰将少恒请入府内，密谋毒死少恒，然后嫁祸与其偷情的碧兰，再借老银匠（严顺开 饰）之手将碧兰除掉。一切如愿后，闻讯的道景赶回家中，他从行将自尽的老银匠口中得知了事情的原委，万念惧灰的道景身着银饰女装，走向了亡妻的坟头……

In the 54 years from his sexual awakening at the age of 7 until the age of 61, Yonosuke had relations with 3740 women and 725 men.
So we learn about the protagonist of Ihara Saikaku's 17th century novel The Sensualist in this animated adaptation, which is directed by erstwhile art director Yukio Abe, best known as the art director of the great Sanrio films of the 70s and early 80s, and scripted by erstwhile director Eiichi Yamamoto, best known for directing the experimental adult epic Belladonna.
Armed with those stats, Yonosuke makes Casanova look like the 30-year-old virgin. The 18th century Venetian and patron saint of latter-day Venutian artists such as Neil Strauss proclaims in his autobiography to have had relations with a mere 200 or so women during his lifetime. Yawn. But Casanova's autobiography is an engrossing and ethnographically invaluable piece of writing, and Yonosuke is a fictional character, so we'll call it even.
Better known as The Life of an Amorous Man, the novel was the first in a series of tracts that Ihara Saikaku published in the 1680s recounting the amorous escapades of the denizens of his Edo-period merchant class demimonde, who were apparently quite the libertines. I'm sure there are some juicy parallels waiting to be drawn between 17th century Japan and 18th century Venice by an enterprising student of comparative cultural studies.
Edo-period Japan was one of the most enlightened and liberal societies the world has ever known when it comes to sexual matters, with its sophisticated amalgamation of sexual openness and artistic expression. Rather than clients visiting prostitutes in dingy dives for a slam-bam-thank-you-mam exchange of fluids, Japan's geisha were government-sanctioned master artists who engaged clients in a classy, ritualized form of intellectual foreplay involving conversation, music and poetry.
The crème de la crème of geisha was the tayuu, and it's one of these creatures that is the object of the chase in this film. The Sensualist tells the story of a fumbling young man who seeks Yonosuke's assistance in getting with a renowned Edo tayuu. Flashbacks weave in and out of the narrative thread, filling us in on Yonosuke's respectable history of romantic dalliances.
The visuals of the film are exquisite, creating a sumptuous homage to the art of the Edo period. The characters are modeled after the style of Edo hanga, and are animated with great care under the supervision of the late great FX animator Mikiharu Akabori. Quite simply, the film is a feast for the eyes. Abe Yukio was first and foremost an art director, and the focus on the film is understandably on creating a sequence of beautiful images, which it does marvelously. There are few anime films as beautiful as this one out there. The film feels like a moving hanga.
Rather than gliding through a crude naturalistic approximation of Edo Japan, the characters inhabit the actual art and expressive symbols of the era. The ocean undulates like an ink painting, white lines on a black background. Naked bodies entwined in an embrace float through fields of lotuses. Shadows of long-eared rabbits hop across folding screens painted with stormy waves. Prints of Edo beauties or landscapes by the great masters pan across the screen, creating a heady and intoxicating atmosphere in which art, sex and life intermingle, rather than simply telling a story.
Although this is definitely a film for adults, and there is a good deal of nudity, a bit of rubbing, and a whole lot of bobbing, none of it is explicit. Actual shunga from the same period as this novel are far more explicit. Instead, symbols like the turtle and the camellia that were used back then to hint at sexual matters are used in a similar spirit during lovemaking scenes. The only time the film borders on funny is when they use the same strategy as 1001 Nights and Cleopatra and suddenly coyly shift from a shot of the couple embracing to a shot of abstract animation showing a suggestively shaped flame, or a clap of lightning that sends birds flying off of a tree. But for the most part, these shots of abstract animation are subtle and creative, and they feel like a modern extension of the traditional Japanese symbolic tradition.
Originally released in Japan around 1990, this 54-minute film was presumably a direct-to-video release. Gone were the days when a film like Belladonna, this film's only real analogue in anime, could be released in the theaters. It appears to have disappeared into obscurity fairly quickly, and it's hard to find almost any information about it anymore. Needless to say, it has not been re-released on DVD.
This film deserves a better fate. If ever a film qualified as a buried gem, this is it. There is quality work here. This was an ambitious project that was clearly a labor of love. Director Yukio Abe masterfully handles a complex narrative that flows between the present, the past and the abstract, making every image count. Mikiharu Akabori's character animation is subtle but nuanced, authentically reproducing the complex dress of the era and the styles of physical representation of Edo-era prints. And Eiichi Yamamoto deserves a lot of credit for penning an excellent script tangled with poetry, authentic inflection and subtle wit. Together, they did a good job of visualizing some pretty difficult material in a way that remained true to its explicit nature without teetering too much into the realm of bad taste.
More importantly, they fully utilized all the means available in animation to create a thematically and visually consistent interpretation of the spirit of the novel. They channel the actual art of that period into the modern means of animation, achieving a sense of artistic unity that could not be achieved in a live-action adaptation.
Despite being an erotic film, it's not meant to be titillating. The film has a sense of spiritual and literary depth that goes beyond mere sexual exploitation. It reminds me of the themes invoked in 1001 Nights, the first Animerama film, which was also directed by Eiichi Yamamoto: Ambition, lust, curiosity. The desire to push yourself to be the best YOU you can be, to go higher and higher, just to see if you can do it. That is one running themes that seems to occupy Eiichi Yamamoto in the three characters of Yonosuke, Belladonna and Aldin. 1001 Nights was intended as a film for adults addressing complex adult themes, not as erotica, and I find that that's the case with this one, although the erotic element is unmistakably more dominant here. The film feels like an homage not only to the art of Edo Japan but to the erotic sensibility of that era.
And lest all this make the film sound like a stuffy art film, it's clear that they don't take themselves too seriously. It's entertaining to watch the protagonist, a bumbling stand-in for every ordinary loser out there who isn't a Don Juan like Yonosuke, fumble his way into the arms of this goddess.
Alongside Belladonna, The Sensualist is one of the rare attempts to do tasteful and artistic adult fare in animation. The studio that produced this ambitious film might come as a surprise: It was Grouper Production, a short-lived studio that was co-founded in 1986 by Masami Hata, the director of many of the very same Sanrio productions on which Yukio Abe acted as the art director. Hata directed several of Grouper's productions, including the Hobberdy Dick TV series, the Super Mario Brothers: Princess Peach movie, and the Ping Pong Club TV series. As far as I know, this is the only film that Yukio Abe directed. Since then, he has returned to art directing, most recently working again under Masami Hata on the Stitch TV series produced by Madhouse.
How did this project come about? It seems so out of character with everything else done by the studio as well as the director. Was it a project he had always wanted the chance to direct? So many questions. Grouper continued operating for several years after this film was released, so at the very least, it didn't put them out of business, which is a relief. Belladonna was produced 20 years earlier. Films like this only seem to come around in 20 year increments. Hopefully that means we'll be getting a new one soon. It's understandable that most studios don't have the daring to try their hand at something a little more ambitious like this, but it's still a shame. The talent is out there to make a new adult epic. It only makes me all the more grateful for the occasional aw-the-hell-with-it moments of indulgence like The Sensualist

　　突袭世界的大灾难“第二次冲击”后，世界在废墟之上重建。14 岁的少年碇真嗣被父亲碇元渡叫到第三新东京市。本以为能见到父亲迎接的他，却见到名为“ 使徒”的巨大生物与军队交火。危急之下，特务机关 NERV 的葛成美里将真嗣救下，并将其带往碇元渡所统领的 NERV 总部。但迎接真嗣的，却是是父亲冷酷地命令：驾驶称为“EVA”的巨大人型机器人与使徒战斗。本已表示拒绝的真嗣，看到重伤的替补驾驶员绫波丽后，决定遵从父亲的命令。就这样，从未受过作战训练的真嗣，准备驾驶 EVA 初号机迎战使徒。 不断袭来的使徒，身份不明的绫波丽，从德国来的驾驶员惣流·明日香·兰格蕾，14 岁的少年要面对远超自己能力的挑战。而碇元渡不动声色地观察一切，一个称为“人类补完计划”的神秘计划正在按照他的计划实现。

《新世纪福音战士》电影版第1部。分为“DEATH篇（死亡篇）”与“REBIRTH篇（新生篇）”两个部分。“死亡篇”以原TV版动画第1集到第24集的内容为基础，重新剪辑了一个总结篇。“新生篇”内容承接第24集内容：
第十七使徒被消灭后，SEELE向NERV下达命令，要EVA初号机负责执行“人类补完计划”。然而碇元度不认同SEELE的做法，拒绝执行。SEELE认定这是一种叛变的行为，决定把NERV彻底消灭。
破晓时分，NERV本部突然遭到来自战略自卫队的袭击，他们对NERV的人员进行了惨无人道的大屠杀。为了保护驾驶员，葛城美里命令把精神崩溃的明日香送上二号机，并放在湖底的深处，自已就亲自去救碇真嗣 。但此时的碇真嗣已经处在精神崩溃的边缘。

神秘的EVA零号机驾驶员绫波丽，在与碇元度约定之时，来到了NERV底层中央教条的红色水池边。她的命运似乎就将在此结束。
在危急时刻，葛城美里不但要完成加持良治交待的对“第二次浩劫”真相以及“人类补完计划”的探查工作，还要保护碇真嗣与明日香，以及防备SEELE 对初号机与二号机的物理接触。
出于对碇元度的憎恨，赤木律子接受了SEELE引爆MAGI的提案，她能否成功？长期与SEELE共事的碇元度、冬月耕造、碇唯，为了防止人类“最终的悲剧”，而酝酿了的“人类补完计划”能否实现？尽在《新世纪福音战士》电影版第2部中解答。

在参拜母亲坟墓的回程途中，真嗣（绪方惠美 配音）和葛城美里（三石琴乃 配音）遭遇了第七使徒的攻击，关键时刻2号机势如破竹挫败对手，真嗣也由此结识了2号机的操纵者式波·明日香·兰格蕾（宫村优子 配音）。与沉默寡言的绫波丽（林原惠美 配音）不同，明日香自信张扬，甚至有些自大，在和真嗣相处的日子里，彼此闹出不少的笑话。他们三人分别驾驶着零号机、初号机和2号机，抵抗了第八使徒猛烈的攻击，在这一过程中，淡淡的情愫悄然在这三个青年男女的心中萌生。不久后，第九、十使徒相继降临，真嗣他们面临着生与死的残酷考验……
本片为福音战士新剧场版四部曲第二部。

《生育与村落文化》内容简介：费孝通教授对后辈耳提面命时，说过一句带点哲学意味的话：社会学研究要出故事！费孝通说要“出故事”，不是说让我们去编些故事出来，而是要我们去研究人与文化的始终，有头有尾地去说明问题。
以前做独身、同性恋的研究，多少还是些老的故事，因为这些研究在国外早有人做过；而这次的研究就是个新的故事了。透过这些故事，我们就能够克服文化中心主义的偏见，克服文化差异的壁垒，去了解与自己不同的文化群体及其行为。在这个过程中，至高无上的目标是真实。而恰恰是这一点，总是被人遗忘。