Hua Jai Chocolate
Hua Jai Chocolate” is about Chun (Mos), a rich young man, who does not know the real meaning of love. But when he went to Switzerland to study hotel management, his life changed. During his stay there, he befriended Wan (Aom), who was also studying hotel management. As they continue to spend time together, she taught him about love. When Wan learned that Chun was allergic to chocolate, she tried to find a way to help enable him to eat chocolate. She made chocolate candies without chocolate powder, which is called white chocolate, and offered it to him. Since then, their love for each soon blossomed. When they went back to Thailand, they separated because Chun’s ex-girlfriend still wanted him. As for Wan, she didn’t want to declare her love for him because she was afraid to get hurt again. It reminded her of the last time she fell inlove, which was her ex-fiance, he cheated on her. Chun tried to pursue Wan but gave up because he thought she was inlove with her childhood fr
Rino Randou is a young girl with a head full of air and a talking puppet on her hand. She is accepted into the illustrious Gokujou all-girlâs school, and is summarily, almost curiously, accepted as part of the even more illustrious Best Student Council, who has more power and business ventures than most large businesses. Now a part of the student council, she befriends the talented members of the Best Student Council, leaving one to wonder how a girl with seemingly no talents or redeeming qualities would get chosen for such a group. Genres: comedy, slice of life
Girls Bravo â First Season
Small for his age, Yukinari has been bullied and abused by girls all his life. Now in high school, he has developed a rare condition: whenever girls touch him, or even come close, he breaks out in hives. Imagine his surprise, when he is suddenly transported to the city of Seiren on a mystic world invisibly orbiting the Earth, and populated with vast numbers of women and very few men. Fortunately, he has a new friend, Miharu-chan, whose touch inexplicably doesnât affect him.
Ginga Densetsu Weed
A dog named Weed happens to hear that he is the son of Gin, The great leader of Ohu, Who lead the dogs of Ohu to victory in a fight against monsterous bear Akakabuto. Weed wants to find his father no matter of what. On a way to his father Weed meets many friends and enemies.
16-year old Sakurano Tazusa is a Japanese figure ice-skater who considers herself to be worth $10 billion in beauty. While executing her moves in the Womenâs Figure Skating Grand Prix, she stumbled and landed badly, hence resulting in her loss in the competition. At the same time, in the same city, a Canadian youth by the name of Pete Pumps was performing an air stunt when his plane crashes and he dies. Tazusa starts to hear a strange voices and realises that the Canadian ghost now resides in her body. After futile attempts to get rid of Pete, Tazusa decides to get accustomed to his presence and in the meantime, improve on her techniques in order to get selected for the Olympics
This is the story about one small coffee shop located in the northern island of Hokkaido. Yukichi Wakui used to work as a successful businessman at a prestigious trading firm. He worked for several years in New York as well as other cities around the world. When his wife Megumi died at the age of 47 in a car accident three years ago, he decided to leave the company. He was only 57. When Megumi died in the accident, her 18-year-old son Takuro was at the wheel. Yukichi declined an offer to switch to an affiliate company after his retirement, and moved to Megumi’s hometown Furano, Hokkaido instead. There he started a small coffee shop named “The Forest Clock.” Unbeknownst to Yukichi, Takuro is working as an apprentice pottery maker in Biei—a town located 50km away from Furano. His father hasn’t spoken a word to him since the accident. One day, Takuro meets Azusa, the lovely Forest Clock employee who has a habit of accidentally breaking the shop’s plates and cups. It doesn’t take long for the two to fall in love. Will the wall of ice between father and son ever melt? Adding color to the drama are the conversations between Yukichi and the tourists and café-goers who drop in the shop. –Fuji TV
The story is set in the middle of ancient China’s Ming Dynasty: Four martial art experts, led by emperor’s uncle, formed an imperial secret service, called them self “The Dragon’s Protectors.”
Immediately after they have foiled the assasination attempt of the emperor, a complex and devious conspiracy of treason, which involved a Japanese Samurai gang, was also unveiled. Just as the team head into the clues and investigate deeper into the web, they soon discover a small connection linking them back to their own organization. As in result, each prominent member of the Protectors team must to use their skill, wisdom and expertise, to solve the mystery that threatens the very existence of the “Dragon’s Protectors.”
This digital featurette, not quite a companion piece to Tropical Malady but certainly related to it, shows Joe operating at the height of his formalist powers. One of the things I’ve valued about Weerasethakul’s work since Mysterious Object at Noon is his commitment to exploring the traditions of avant-garde cinema while taking those idioms into uncharted territory. While some works by Joe have displayed an interest in bending the strategies of Andy Warhol and Bruce Baillie to the needs of Thai folklore and narrative gamesmanship, Worldly Desires takes a more structural approach. However this piece bears little resemblance to structural film as we usually think of it; if there are specific touchstones for Worldly Desires in film history, they would be those “other” structuralists, so wonky and off the beaten track as to thwart easy categorization. Like Morgan Fisher’s early film projects, Worldly Desires is a documentation of the filmmaking process. Within a single expansive jungle location, portions of a Thai soap opera are being filmed by day, and a music video is being made by night.We watch at a significant remove, behind the camera and lighting crews. Multiple views display random bits of business on the periphery, like the craft services table or a playback monitor. However, the stringent day / night rhythmic structure breaks down in the end, the night song (about a woman wondering if she’ll be as lucky in love as her mom was — an Electra Complex with a disco beat) eventually bleeding into the daytime shoot. But more significantly, the relatively austere TV production, whose melodramatic dialogue is mostly heard in disconnected snippets, is contrapuntally offset by the swelling musical numbers. They break up the video, with the unexpected jolt of pure pleasure. Although these sequences recall the musical interludes in certain of Tsai Ming-liang’s films, they’re shot in the mode of early Hou Hsiao-hsien, dancing girls reduced to tiny figures in a wide expanse, itself engulfed within an intractable master-shot. The rigor / comedy handoff recalls aspects of Owen Land’s work, but perhaps more importantly, Joe’s visual and conceptual approach displays a sensitivity to the unique qualities of the jungle landscape, a willingness to let the “location” become the subject of the piece. Worldly Desires is a landscape film, one that brings that most mythologically burdened aspect of Tropical Malady — its deep, dark thicket of the soul — and allows it to grow wild and overtake the image.