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Affair in the snow (1968), is revealing once again the similar set of themes from the writers (Yoshio Ishido, Yoshishige Yoshida), centered on a female character. Managing a hairdressing salon in Sapporo, Yuriko leaves on a journey with Sugino, her lover. While they roll in the cold and snow, Yuriko acknowledges to him that she came with the intention to break up with him. Persuaded that there is another man, corroded by his jealousy, Sugino decides to drown her at the Lake Shikotsuko. Yuriko reveals to him that she is pregnant but later on it proves to be only a false pregnancy. Yuriko later also reveals that she had a lover but that he was impotent. This film shows more weaknesses than other films by Yoshida, in particular because its production is done more artificial. What interested him to unceasingly turn the camera around the characters? Is this to give a dramatic intensity which misses in the characters themselves? In short, it all appears a little anecdotic and forced. And then the scenario seems to have only evil buckle the relationship between his trio of characters, reversing the impotent one and the “virile one " with a tragic finale. This is definitely one of his less popular films but seems to have a particular small group that enjoy it because of the infuences of Antonioni. Many critics have noticed some Antonioni influences in his work; others mention the work resembles Sternberg and Dietrich more than Antonioni and Vitti, they also say his films aren't as "glorious", but definitely as entrancing.

Director Iwai Shunji achieved massive commercial success with Love Letter, an achingly sentimental and poetic film about love both lost and found. TV drama queen Nakayama Miho stars as Watanabe Hiroko, a young woman who has not yet recovered from the loss of her fiance Fujii Itsuki two years earlier. While visiting Itsuki's mother, she discovers his old yearbook. She writes a short, simple letter to Itsuki and sends it to the demolished school's former address. She doesn't intend for the letter to reach anyone, and instead hopes that the act of writing it will help ease her own pain. But surprisingly, she gets a response! The recipient is another person named Fujii Itsuki, a female who actually went to the same school as Hiroko's fiance. The two women continue to correspond, and the memories they share with one another bring Hiroko ever closer to finding closure. But will she ever recover enough to meet this other Fujii Itsuki? Co-starring popular Japanese actor Toyokawa Etsushi, Love Letter is a heartfelt and utterly affecting motion picture that fully demonstrates Iwai Shunji's masterful ability to bring intimate human emotions to the screen. Set against the picturesque backdrop of rural Hokkaido, Love Letter is a stunningly beautiful and even magical motion picture.

Sex & Fury, one of the wildest, most violent, just-plain-entertaining Japanese sexploitation pictures from the 1970s stars smoldering young 'pinky violence' actress Reiko Ike (veteran of the Girl Boss aka Sukeban film series) as Ocho, a gambler and pickpocket in Meiji Era Tokyo. After sheltering a fleeing anarchist, Ocho encounters the three villains responsible for her father's murder, and runs afoul of various yakuza who want her dead. A European spy (beautiful Christina Lindberg, star of Thriller - A Cruel Picture), whose sadistic diplomat boss has his own nefarious plans, complicates matters. A riproaring action saga filled with beautiful bodies, bloody swordplay, and psychedelic imagery -- all beautifully photographed in a number of astonishing setpieces. Directed by Norifumi Suzuki (who fathered the Sukeban genre), Sex & Fury transcends the pop culture realm to achieve genuine art.

The movie is based on an award-winning novel and its popularity resulted in roughly 25 movie studios and television networks fighting over adaptation rights, in the end TBS won out. The novel was adapted for the screen by Hiroshi Saitō and Mitsuharu Makita. The film began shooting October 7, 2008 and was primarily shot in Tokyo. The Glorious Team Batista was in theaters on February 9, 2008 and became a commercial success, grossing 264 million yen from 284 screens its opening weekend.
When The Glorious Team Batista was screened at the Udine Far East Film Festival, it received mediocre reviews. Todd Brown of Twitch wrote:

The characters are stock at best, the story arc blandly predictable and the ending drawn out beyond reasonable bounds. The technical end is solid and the performances good enough but the script for this just feels far more like a lengthy episode of prime time network television from the pre-HBO era – much more Murder She Wrote or Matlock than Dexter – than it feels like the feature film – adapted from a popular mystery novel – that it is. Horrible? No, just horribly bland.

The Glorious Team Batista is a ragingly obvious commercial film, with manufactured characters, drama, and situations that seem ripped from a pulpy bestseller you might find featured in an airport bookstore (Surprise! The film is based on a novel.). This is a big-screen medical thriller built for mainstream audiences, and it seldom delivers anything beyond the required or expected... Regardless, the whole is too glossy and commercial to be anymore more than an average medical thriller suited to undemanding audiences."

A sequel to the film titled The Triumphant Return of General Rouge is scheduled to be released March 7, 2009. The sequel will be adapted from "General Rouge no Gaisen," which is the third book in the same novel series as "Team Batista." Yuko Takeuchi and Hiroshi Abe will reprise their roles, with director Yoshihiro Nakamura also returning. Masato Sakai has been cast as the films antagonist

Tomokawa (Okuda) is a tough guy turned bored cop who spends much of his time sating lonely housewives and looking after retarded teen Sukemasa. One day while hanging out at a bar, he is approached by a 15-year-old enjo kosai named Yoko, offering a round of illicit sex in exchange for cash. Though he demurs, their paths cross again and soon a relationship of sorts forms. Yoko, it turns out, is Sukemasa's sister; and both are the children of his old flame Yukie (Marie Natsuki), a grasping, self-centered woman. Moreover, Yoko's grandfather is responsible for the massive tattoo sprawling across Tomokawa's back. Tomokawa soon takes both teens under his wing, protecting them from their heartless mother, and their lecherous stepfather. Soon, Yoko gets a similarly massive tattoo illustrating her bond with her policeman savior.

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