College student and Economics major, Yuka Minami (19) suddenly learns of the freakish death of her friend, Ikumi, on whose corpse were found reams of 10,000-yen bills. The eyes of Yukichi Fukuzawa, the face on the 10,000-yen note, had all been darkened black. When the bodies of 5 more men and women around Ikumi turn up in the same manner, rumors spread of a “death cash” curse. Frantic over this rash of inexplicable deaths in her immediate surroundings, Yuka one day hits upon a certain “rule” she believes might combat the workings of these fatal deaths. Horror and suspense surround her in this visceral depiction of modern society’s biggest and most terrifying subject: money.

DigiCon6 ASIA, which began in 2000, has grown to become Asia’s largest short movie film festival. Currently, 10 countries and regions participate including Japan, China, Taiwan, India, Hong Kong, Korea, Malaysia, Singapore, Thailand and Indonesia. All submitted works have an easily viewable running time of 15 minutes or less, running the gamut of formats from CG animation (2D & 3D) and stop motion/clay animation to live action, and spanning a wide variety of genres from children’s animation and human drama to action and science fiction. Carefully-selected works by Asia’s top film creators are presented.
Over 100 works
15 minutes or less per work
Single-story format

Asuka had once realized her goal to become a teacher, but after a gutting failure, she gives up her dream profession and becomes extremely withdrawn. After a series of events, she finds herself becoming a live-in housemother for a dorm... where the boy band septet 8LOOM live together!
At the dorm, she is reunited with her former student Dan—as a teacher, Asuka used to encourage him to go for his dreams. Inspired by Dan’s leadership in the band and his passion for making his dream come true, Asuka, too, regains the passion she had in her teaching days and comes to terms with her own failure.
Don’t miss this adorable story about a woman’s journey to new heights in work, friendship, and romance!

The crowning work of Go Osaka, one of Japan’s leading hard-boiled mystery writers, his series “Mozu” (Bull-headed shrike) has sold almost 700,000 copies to date.

【MOZU Season1: Night Cry of the Mozu】
Ace police officer of the public safety department plice, Kuraki (Hidetoshi Nishijima) who lost his wife in a bombing incident, Osugi (Teruyuki Kagawa), a cop who rose from the bottom of the ranks up through the 1st Criminal Section, and a tough woman cop, Miki (Yoko Maki), form an odd trio that gradually learn to trust each other as they try to solve a town bombing, catch an assassin that goes by the name “Mozu”, and expose shady past collusions and conspiracy within the police department. The truth emerges slowly from a whirlpool of human intrigue that will keep you glued to your screen in a blockbuster production that goes beyond the conventional scale and realm of television.

【MOZU Season2: Phantom Wings】
One year following the first season “Night Cry of the Mozu”, an even more wicked challenge presents itself to Kuraki and his gang in the form of an international conspiracy. A murder in the style of Mozu occurs near Kuraki, Osugi and Miki that points to not only Japan but to an international terrorist ring surrounding the “Phantom wings” and a high-stakes gamble. The shocking truth behind a peaceful society is about to be revealed! “Phantom Wings” adds new cast members to this action thriller sure to shake the foundation of your values and view toward life.

The story begins when a housewife named Aoi meets a boy named Yuichi, who is the orphaned son of her close friend. It is a heartwarming comedy about Aoi, the constantly positive, cheerful and accommodating housewife, transforming Yuichi, a sissy and sensitive crybaby, into a mature and independent man.

Yamakura of the Kobe Fire Department aspires to wear the vaunted “orange” uniform of an elite rescue force that only 3% of all firefighters can attain. But to do so, he and his fellow trainees must suffer through the most rigorous training. As Yamakura and his fellow trainees grit their teeth and complain, their superior officer, Sakurai, impresses upon them the lessons of the Great Hanshin Earthquake (Kobe Earthquake) 20 years ago as “the only time we ever lost.” What hap-pened on the front lines of rescue that day and in the aftermath? What raced through the hearts and minds of rescuers as they tried to get a handle on unimaginable disaster? The shocking facts pour from Sakurai’s mouth in hopes of preparing the recruits for the unforgettable event that awaits them.

The long-awaited dramatization of Kiyoshi Shigematsu’s million bestseller and winner of the Naoki Literature prize, Second Chance Chauffeur begins with a man taking a ride in a car as he seeks to embark on a life do-over. But the drive sends him toggling supernaturally between past and future where he encounters his father. Both of the same age, the two forge an odd relationship that is neither father-son nor two friends. Kazuo (Hidetoshi Nishijima) is a staid and serious man who lost his family for failing to notice a dark illness that afflicted his wife. His father (Teruyuki Kagawa), on the other hand, was a freewheeling, passionate entrepreneur who built many successful businesses in the course of an illustrious career. Together, the two embark on a spiritual journey that prompts Kazuo to mature as a father and reach a place that will provide encouragement to all.

The setting is the Tsukishima district of Tokyo where the Summer Olympic Games will be held in five years. A small old-fashioned confectionary shop, “Sakuraya” stands as a remnant of the past amid the rapidly changing cityscape. Akiko Sakurai has been running the shop on a shoestring for over 50 years, along with her grandson, Taro (33) whom she raised form childhood after he lost his parents in a traffic accident. With them also is Reiko, a single mother who has returned to Tsukishima with her child. Seemingly left behind by a fast-moving world, Taro appears as something of a “loser” who finds himself reexamining his lost childhood in an effort to move forward. Life takes a strange turn when his grandmother, Akiko, receives a letter that she is being sued for damages because her cat, Mi-chan, allegedly scratched up a neighbor’s luxury car. What should be an easy case to win turns into a fumbling mess at the hands of Taro who can’t seem to win for losing in this wacky yet endearing and slightly heartwarming late-night drama.

A woman is found strangled to death in an apartment in Tokyo’s Katsushika Ward.
The victim is Michiko Oshitani, a resident of Shiga Prefecture who worked for a home cleaning company.
What’s more, the occupant of the apartment where the murder took place, Mutsuo Koshikawa, has gone missing.
Matsumiya (Junpei Mizobata) and his fellow detectives of the Tokyo Metropolitan Police’s Investigation Section 1 begin investigating, but hit a brick wall when they fail to find any links between Oshitani and Koshikawa.
Why was Oshitani, who lived in Shiga, killed in Tokyo?
Eventually, the detectives’ inquiries lead them to a theater director named Hiromi Asai (Nanako Matsushima).
They learn that Oshitani came to Tokyo to visit her former classmate Asai, but again come up with nothing when searching for connections between Asai and Koshikawa, and their investigation grinds to a halt.
Matsumiya has a hunch that a charred corpse found nearby the murder scene may have some relevance to the case, and subsequently discovers an item among the victim’s belongings with the names of Nihonbashi’s 12 bridges written on it.
When Kyoichiro Kaga (Hiroshi Abe) learns of this, he is deeply shaken.
It is somehow connected to his mother, who died alone...

"The Family", the program commemorating the 55th anniversary of the launch of the TBS TV station, is a social drama depicting the inside story between bureaucrats, politicians and big businesses over a bank merger revolving around the family discord between Daisuke Manpyou, the owner and president of Hanshin Bank, and his eldest son, Teppei. A program that was a big hit, "The Family" recorded average audience ratings of 23.9% in the Kanto region and 30.4% in the Kansai region.