In an ill-fated attempt to harness the forces of nature, Dr. Frankenstein creates a monster. This gentle giant roams the countryside in search of a peaceful life, but is finally overcome with loneliness and despair as his fearsome visage strikes terror in the minds of young and old alike.

The introductory chapter to the movie, Strong World, which depicts the events surrounding Gold Roger's execution.

Hello! Sandybell is an anime series made by Toei Animation in 1981. It was aired in Japan by TV Asahi.

In the original title when it is made in Japan, her name is the spelling to which "E" is attached to an end by "Sandybelle".

Similarly to Silver Fang, the show is relatively unknown in the U.S. but was quite popular in Asia, Latin America, Arab countries and Europe, particularly Scandinavia.

This story is about a girl, Candy, who is a orphan. She is a nice and optimistic girl and she has a warm heart. When she was a child, she lived in an orphanage called Pony's Home. She had a good friend called Ann. And she met the "handsome boy on the hill" who is a important person in her life, on the hill behind the orphanage.

She was adopted by the Loka's family. What's awaiting her are the bad-hearted Leo and his sister, Eliza. One day, in the rose garden, she met a boy, who is identical to the "handsome boy on the hill" who she had met in her childhood. The boy is called Antony. Thereafter, a fantastic story that she has never expected begins.

Jumelles très populaires, Patricia et Isabelle O’Sullivan se sont parfaitement intégrées à la vie du luxueux internat de Redroofs. Craignant que cette éducation un peu trop superficielle ne corrompe le futur de leurs filles, leurs parents décident de les transférer à St Clare, une école moins prestigieuse mais où ils espèrent qu’elles apprendront la responsabilité et les réelles valeurs de la vie. Peu contentes de ce changement, Pat et Isabelle décident au grand dam de leurs professeurs de ne pas se conformer aux nouvelles règles d’éducation. Réussiront-elles à s’adapter et à apprécier ce nouvel environnement ?

主人公是帕特里夏沙利文和伊莎贝拉沙利文二个少女,并且她们是单卵双胞胎。故事从两个人入学的时候开始。其他的那个上场人物有アリスン沙利文(相当于主人公们的堂兄弟),希拉里等……虽然姐妹俩都讨厌圣克莱尔学院,拒绝入学。但是她们依旧走进了学校。新的学院……新的宿舍生活……新的朋友……她们一面抗拒学院的学风，一面与新认识的朋友建立友谊增进交流以及从生活中，学习中学到的经验促使她们一步一步的成长起来……

A Japanese adaption of Robert Louis Stevenson's Treasure Island, featuring animals as the majority of the cast. By chance Jim comes upon a map of Treasure Island. He leaves the port accompanied by Glan, the rat and Bub, the baby on a strange looking boat of his own make to look for the island. Pirates soon find him and adventure ensues.

｢流星号､応答せよ流星号｣で知られる､日本で初めての本格的タイムトラベルSFアニメ｢スーパージェッター｣｡巨匠･筒井康隆や豊田有恒､眉村卓らを輩出した不朽の名作!今だからこそ見て感じる深い味わいと後世へのメッセージが伝わってくる作品!30世紀のタイムパトロールであるスーパージェッターは､愛機･流星号で､ジャガーという犯罪者を追跡しているうちに時空で事故を起こし､20世紀に不時着する｡そこで出会ったのが､女性報道カメラマンの水島かおる｡彼女と力を合わせてジャガーの事件を解決し､科学捜査局の西郷長官を紹介されたジェッターは､長官からの依頼で20世紀の犯罪者を取り締まる任務につく｡｢未来からきた少年･スーパージェッター｣の誕生である｡そして彼は､その期待に応えるべく､パラライザー､反重力ベルト､タイムストッパー､赤外線透視ゴーグルなどの30世紀の武器･装備を駆使して､水島かおるとともに､20世紀の犯罪を次々に解決していくのであった｡

Mazinger Z, known briefly as Tranzor Z in the United States, is a Japanese super robot manga series written and illustrated by Go Nagai. The first manga version was serialized in Shueisha's Weekly Shōnen Jump from October 1972 to August 1973, and it later continued in Kodansha TV Magazine from October 1973 to September 1974. It was adapted into an anime television series which aired on Fuji TV from December 1972 to September 1974. A second manga series was released alongside the TV show, this one drawn by Gosaku Ota, which started and ended almost at the same time of the TV show. Mazinger Z has spawned several sequels and spinoff series, among them UFO Robot Grendizer and Mazinkaiser. It was a very popular cartoon in Mexico during the 1980s, where it was dubbed into Spanish directly from the Japanese version, keeping the Japanese character names and broadcasting all 92 episodes, unlike the version aired in the U.S.

Japanese anime television series

Japanese tokusatsu television series

Japanese anime television series

时代是在1914年的南芬兰的农村里。卡特莉在她6岁的时候，母亲为了生计而到德国去工作，在欧洲的第一次世界大战开始时，与母亲往来的书信也就此断了。而留在贫穷的爷爷奶奶的家的卡特莉，她为了帮助爷爷奶奶，决定要到农场去工作。之后，卡特莉勤奋的工作讨人喜欢而受到许多人的支持，她在这种状况下成长，最后她与母亲再次相见。

ストーリー
地球を離れること五百億光年、大キン肉星雲に位置するキン肉星からやって来たキン肉マンは、由緒あるキン肉王国の第一王子であります。
今を去る事20年前、キン肉大王とその奥方が、生まれたばかりの王子を連れて地球へ旅行にやってきました。ところが、帰り道キン肉マンを子ブタと間違えて宇宙船から外に放り出してしまったのです。
こうして日本に舞い落ちたキン肉マンは数奇な運命をたどることになったのですが・・・ドジなキン肉マンにも出番が遣って来ました。
超人ヒーロー・オリンピックが開催される事に成り、前チャンピオン、ロビンマスクの友情に依り、日本代表に選ばれたキン肉マンは勇躍出場、持ち前の強靭な身体とスピーディな動きで八面六臂の大活躍を開始します。
テリーマンやラーメンマンといった正義超人たちとのリングファイトの中キン肉マンは正義と友情にめざめ、一流の超人へと成長していく。
解説
超人たちの姿を形どったキン消しと呼ばれる消しゴムを収集することが当時の子供たちの間で大流行。原作人気との相乗効果によって絶大なる人気を得ることができた。

小白角被西风带到一个荒芜小镇，遇到好心的老鼠一家，并且认识了生病的小女孩。原来镇上的工厂污染了大地天空，人们都生病，离开了。小白角摧毁了工厂，使小女孩恢复健康，但又一次被西风带走。

実業之日本社刊「週刊漫画サンデー」の人気ヤクザ漫画を題材にしたオリジナルビデオアニメ作品。主人公の近藤静也は女性下着メーカー「プリティ」に勤めるへぼデザイナー。しかし、その実は関東最大の広域暴力団「新鮮組」の三代目総長であった。昼間は頼りないサラリーマンで情けない姿をさらすが、夜になると誰もが道を空ける大親分に変身する。本作は、そんな近藤静也の活躍をコミカルかつシリアスに描いている。監督に『ふしぎ遊戯』などを手かげる亀垣一、静也役の声優に『スレイヤーズ』などの松本保典がそれぞれ担当。また、本作は新田たつおの同名漫画を原作にしており、テレビドラマや劇場用作品、オリジナルビデオ版など、幅広いメディア展開も行っている。

Chirin is an innocent though adventurous young lamb whose carefree life on the farm comes to an abrupt end when a wolf murders his mother. Confused and angry, Chirin pursues the wolf into the mountains, seeking revenge. The laws of nature are brutal, however, and hatred alone won't be enough to avenge the loss of his mother. Only the strong survive in the wild, and obtaining that strength may change Chirin forever.

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