漫长的暑假已然过半的8月16日。聚集在学校里的中学三年级学生·长良一行人突然被卷进从未设想过的事态之中。长良本人自不必说，神秘的转校生·希和瑞穗以及朝风等36名同班同学，都随着学校一起在异次元之中漂流。而且他们在漂流的同时也获得了各种各样的“能力”。有因为获得了超越常人的能力而心生欢喜，用能力肆意作乱的人，也有作为领导统帅着学生们，拼死寻找回到原本世界方法的人。相互质疑、无法克制的嫉妒心，还有支配欲引发了对立。接二连三发生的难以解决的事件面前，少年少女们突然被扔进了求生生活之中。长良他们究竟能否攻略这个世界，平安回到原本的世界呢……

艾美奖获奖动画选集《爱、死亡 & 机器人》第三部回归，由蒂姆·米勒（《死侍》《终结者：黑暗命运》）和大卫·芬奇（《心灵猎人》《曼克》）担任监制。恐怖、想象力和美在新剧集中完美融合，从揭示古老的邪恶力量到喜剧般的末日，剧集以标志性的巧思和创造性的视觉效果，为观众带来令人震惊的奇幻、恐怖和科幻短篇故事。

2019 film directed by Yonfan

在艾伦他们居住的帕拉迪岛之外，还存在一个其他人类居住的世界。当中一个国家「玛雷」与其他各国爆发战争。陷入苦战之际，他们决定要攻进帕拉迪岛，把「始祖的巨人」抢过来。在这里又看到另一群孩子们拼命求生存的身影……

High schooler Wakana Gojo wants to become a kashirashi—a master craftsman who makes traditional Japanese Hina dolls. Though he's gung-ho about the craft, he knows nothing about the latest trends, and has a hard time fitting in with his class. The popular kids—especially one girl, Marin Kitagawa—seem like they live in a completely different world. That all changes one day, when she shares an unexpected secret with him, and their completely different worlds collide.

国家的丰饶、麾下勇者的数量、以及国王本人如何像勇者一般强大，这些要素的综合排名，便是所谓的“国王排名”。 主人公波吉是国王排名第七名的伯斯王治下王国的第一王子。但是波吉却生来耳不能闻，贫弱到挥不动剑。不止家臣甚至连民众都轻蔑地说「他实在不是当国王的料」。这样的波吉人生中第一位交到的朋友，卡克。 与卡克的邂逅，以及那些微小的勇气中诞生的，波吉人生的巨变将要开始——

Inspired by real events, "Bestia" enters the life of a secret police agent in the military dictatorship in Chile. The relationship with her dog, her body, her fears and frustrations, reveal a macabre fracture in her mind and a country.

Young actress Rosalie Chiang lends her voice to Mei Lee, a 13-year-old who suddenly “poofs” into a giant red panda when she gets too excited (which is practically ALWAYS). Sandra Oh voices Mei Lee’s protective, if not slightly overbearing mother, Ming, who is never far from her daughter—an unfortunate reality for the teenager. Directed by Shi and produced by Lindsey Collins, Disney and Pixar’s “Turning Red” is now streaming exclusively on Disney+.

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

鬼灭之刃游郭篇故事剧情将从《鬼灭之刃无限列车篇》失去炎柱后做为开端，以日本花街为舞台，而最让人期待的音柱、堕姬即将在鬼灭第二季登场！

2011 年，美国佛罗里达州。空条徐伦和她的爱人开车时发生了意外，她掉进了一个陷阱，被判在最高戒备的国家监狱绿海豚街监狱（又名“水族馆”）服刑 15 年。在绝望的边缘，她从父亲那里收到了一个吊坠，唤醒了她内心深处的神秘力量。“这个世界上有比死亡更可怕的事情，而在这座监狱里发生的事情绝对是其中之一。”出现在徐伦面前的神秘男孩向她传达了这条信息，令人费解的事件接连发生，父亲探监时告诉了她这一可怕的真相，以及“迪奥”这个名字……徐伦最终能否走出这座被称为监狱的石之海？最终对决拉开帷幕，乔斯达家族和迪奥长达百年的宿命对决即将结束！！

日本热血动感卡通巨片，情节跌宕起伏,对儿童心理素质的培养、团结协作精神的提高、不怕困难的勇气的培育、科学意识的发展，具有积极的意义。 星马烈和星马豪是一对亲兄弟，被大家称为“四驱兄弟”。他们把土屋博士送的全覆式迷你赛车“战神号”进行创造性的改造，参加全国各式各样的比赛。兄弟俩不畏艰险，奋勇拼搏，团结协作，潜心研究，战胜了一个又一个艰难险阻，取得了一次又一次来之不易的胜利。 第一、二部中小烈、小豪是主人公。第一部主要是小烈，小豪等人对抗大神博士的战斗赛车。第二部是世界杯大赛，小豪，小烈，三国藤吉，阿吉和鹰羽龙组成一队，队名叫日本TRF胜利代表队。第三部也是关于迷你车世界杯的，由星马烈、星马豪、三国藤吉、鹰羽龙和阿吉所代表的日本队一举夺得世界冠军后，日本四驱界再次掀起了赛车热潮。四驱新的一代人才辈出，其中包括极度崇拜星马兄弟的一文字兄弟也开始渐露头角。他们就是性格与小豪十分相像的、头脑少根筋的哥哥一文字豪树，和外表冷酷却很关心家人的弟弟一文字烈矢。他们在星马兄弟的指导下成长惊人。另外，在全国大赛全盘皆输的大神博士，带着他的女儿大神·玛丽娜和她的可怕的战斗赛车“火舞凤凰”再度回到赛车场，展开了对土屋博士及日本赛车界的复仇大计。日本四驱界再度卷入了战斗旋风之中。

Let's & Go!! focused on Retsu and Go Seiba, two young brothers who recieve racing cars called "Mini 4WD" by Dr. Tsuchia. From there on, the series portraits those two boys, training and costumizing parts to later on participate on Japans Cup, where all of Japans racers enter to be the best of the best!

住在意大利那不勒斯的青年乔鲁诺·乔巴拿，是继承了乔斯达家宿敌·DIO之血脉的儿子。 幼年时遭受迫害而自暴自弃的他，由于拯救了一名黑帮男子，而学到了“相信他人”。不忘恩义、带着敬意对待自己的黑帮，让他的心变得率直。就这样，乔鲁诺开始对“黑帮明星”怀有憧憬。15岁的乔鲁诺，与统领意大利黑社会的黑帮组织“热情”一同引发事端，并成为被盯上的目标……

2021 anime film directed by Chika Nagaoka

Cryptozookeepers try to capture a Baku, a dream-eating hybrid creature of legend, and start wondering if they should display these beasts or keep them hidden and unknown.

2021 Chinese film

2010 animated film about a French magician directed by Sylvain Chomet

Season 5 is the upcoming fifth season of Rick and Morty. Season 5 will consist of 10 episodes. Production of the season was confirmed in July 2019. It will premiere on June 20, 2021.

2021 film directed by Hideaki Anno