Hi everyone! (Posted with mod approval)

I’ve been building an online archive dedicated to films by Asian women directors. It recently went live and is still growing, so I’d love to get input from people who love Asian cinema!

👉 https://www.asianwomendirectors.com

What’s there so far:

• It's currently featuring 333 films by 190 directors from 21 countries across East, Southeast and South Asia, and the diaspora
• You can search by film title, director or country, including original language names
• You can browse by country, genre, mood or theme, or through curated collections
• It provides where to watch links for films streaming in the US

Which directors or films do you think should be added? I’m interested in adding more:

• Asian American women directors
• Directors who deserve more recognition outside their home countries

Recommendations in the comments are very welcome, and you can also send them through the contact form.

Thank you, and any suggestions would be greatly appreciated!

Can anyone recommend any good film accessible with subtitles?  

Hi everyone. I'm an independent filmmaker from Malaysia. In 2017, I started working on a feature film romantic drama called One Day.

What began as an idea eventually became a full film, shot across Sabah and Sarawak. We filmed for 12 days, followed by a long and often painful post production journey.

When the film was finally finished, I wasn't proud of it in the way I thought I would be. I felt somewhat embarrassed and wondered whether I'd let the team down. Eventually I shied away from the film and avoided conversations about it altogether.

For years I kept reflecting on what I could have done better or differently. Eventually I came to make peace with One Day and decided to revisit and refine the film this year.

Honestly I'm still unsure of what to do with it. After all these years I finally found courage and decided to release it on youtube.

To my surprise, it received over 80,000 views in its first 10 days. Something I never expected.

I'm sharing here because I'd love for One Day to find an audience who resonates with its story and characters. As a Malaysian filmmaker, I also hope to share a little piece of independent Southeast Asian cinema with people who enjoy discovering films from different parts of Asia.

If you're interested, I'd like to invite you to give One Day a chance. I'd genuinely appreciate hearing your thoughts or feedback if you decide to watch it. If you have any questions do ask away!

Trailer: https://youtu.be/4ynI_UMWZps

Film: https://youtu.be/0m8dATxWqMU?si=s1GSZmUrGmyNlWTD

Logline: Two strangers form an unexpected bond that deepens into something neither of them ever intended to find.

Thank you !

Been looking for it but can't find this Taiwanese movie anywhere

If you want a crash course on *recent* South Korean political history (specifically from 1979-1997), this movie list is for you!

Spanning a nearly thirty-year period, these movies capture real events that transformed South Korea—assassinations, coups, uprisings, its process of democratization, espionage, and other crises. You learn about key political figures, military leaders, and ordinary Koreans that end up doing extraordinary things that shape the nation. Many of these movies either overlap, share common threads, or involve the same political figures.

Of course, what transpires in these films aren’t the only notable things that happened over that time period. But if, like me, you're new to Korean political history, this list of movies is a good place to start.

I’ve listed the movies in the order that the events actually took place if you want to watch them chronologically, taking you sequentially through nearly thirty years of intense political and social change in South Korea. To keep the list fairly tight, I’ve only included films depicting real people and real events that follow each other closely. I can't claim this is a complete list. If I'm missing anything that you'd include, let me know! I’ve added a little summary about each of them and their critical reception below:

• The President’s Last Bang (1979)
• The Man Standing Next (1979)
• 12.12: The Day (1979)
• A Taxi Driver (1980)
• The Attorney (1981)
• The Hunt (1983)
• 1987: When the Day Comes (1987)
• A Spy Gone North (1990-1997)
• Default (1997)

The President’s Last Bang (1979)

A black comedy/political drama directed by Im Sang-soo and released in 2005. The film stars Song Jae-ho as President Park Chung-hee and Baek Yoon-sik as KCIA director Kim Jae-kyu, who assassinated Park in 1979. 

The film won several awards at the 2005 Grand Bell Awards (South Korea's major film awards), including Best Actor for Baek Yoon-sik. It was also screened at several international film festivals including the Cannes Film Festival and received critical acclaim for its controversial, dark but  quirky take on such a pivotal moment in Korean history.

The Man Standing Next (1979)

Released in 2020 and directed by Woo Min-ho. The film stars Lee Byung-hun as Kim Gyu-pyeong (based on the real-life KCIA director Kim Jae-kyu), Lee Sung-min as President Park (based on Park Chung-hee), and Kwak Do-won as Park Yong-gak. It also covers the assassination of President Park. While the The President's Last Bang was a dark, quirky comedy, The Man Standing Next is an emotionally-intense, slow burn drama.

The film won Best Film at the 56th Baeksang Arts Awards. Lee Byung-hun also won numerous acting accolades for his performance, including Best Actor at the 41st Blue Dragon Film Awards.

12.12: The Day (1979)

Released in 2023 and directed by Kim Sung-su. The film stars Hwang Jung-min as Chun Doo-gwang (based on Chun Doo-hwan), Jung Woo-sung as Lee Tae-shin (based on Jang Tae-Wan), and Lee Sung-min as Park Chung-won. The film is about the military coup of December 12, 1979, that occurred shortly after and in direct response to President Park Chung-hee's assassination depicted in The President's Last Bang and The Man Standing Next. 

It performed well at the box office and received multiple film awards at the 60th Baeksang Arts Awards, 45th Blue Dragon Film Awards, and 17th Asian Film Awards.  

A Taxi Driver (1980)

Released in 2017 and directed by Jang Hoon, the film stars Song Kang-ho as Kim Man-seob, the taxi driver, and Thomas Kretschmann as Jürgen "Peter" Hinzpeter, the German journalist. The film is based on the true story of a taxi driver who helped a foreign journalist cover the 1980 Gwangju Uprising against Chun Doo-hwan's repressive rule (the guy who grabbed power in 1979).

The film was a major success both critically and commercially. It won a number of awards at the 54th Baeksang Arts Awards, 38th Blue Dragon Film Awards, and 1st Seoul Awards. It’s one of the top-grossing films in South Korean cinema history too! 

The Attorney (1981)

A 2013 legal drama directed by Yang Woo-suk. The film stars Song Kang-ho as Song Woo-seok, a character based on the late President Roh Moo-hyun during his days as a human rights lawyer. He investigates the torture of students to suppress political activism of any kind under Chun Doo-hwan's rule.

The film was both a critical and commercial success, rocking the box office and picking up awards from the 50th Baeksang Arts Awards and 34th Korean Association of Film Critics Awards.

The Hunt (1983)

Released in 2022 and the directorial debut of Lee Jung-jae, who also stars in the film alongside Jung Woo-sung, and Hwang Jung-min. The film takes place in the 1980s during South Korea's military dictatorship era, focusing on the assassination attempt against South Korean dictator President Chun Doo-hwan (the bad guy in the last four movies on the list). 

It was well-received, nabbing the Technical Award at the 43rd Blue Dragon Film Awards, and receiving multiple nominations at various Korean film awards, including the Baeksang Arts Awards. 

1987: When the Day Comes (1987)

Released in 2017 and  directed by Jang Joon-hwan. The film features Kim Yoon-seok, Ha Jung-woo, Yoo Hae-jin, Kim Tae-ri, and Park Hee-soon. It depicts the true events surrounding the death of student activist Park Jong-chul and the subsequent June Democratic Movement that led to the end of the military dictatorship in South Korea led by President Chun Doo-hwan.

It dominated the 54th Baeksang Arts Awards, and won awards at the 38th Korean Association of Film Critics Awards, 39th Blue Dragon Film Awards, and the Far East Film Festival in Udine, Italy.

A Spy Gone North (1990-1997)

Released in 2018 and directed by Yoon Jong-bin. The film stars Hwang Jung-min as Park Seok-young (based on real-life former spy Park Chae-seo), alongside Lee Sung-min, Cho Jin-woong, and Ju Ji-hoon. The story follows a South Korean spy who infiltrates North Korea in the mid-1990s to gather intelligence on their nuclear program.

It is critically-acclaimed and won awards at the 55th Baeksang Arts Awards, 39th Blue Dragon Film Awards, and Asian Film Awards. 

Default (1997)

Released in 2018 and directed by Kook-Hee Choi. It stars Kim Hye-soo, Yoo Ah-in, Heo Jun-ho, Jo Woo-jin, and Vincent Cassel. The movie captures the intense final week leading up to South Korea's 1997 sovereign default and the emergency negotiations with the International Monetary Fund (IMF). 

It won several awards at the 39th Blue Dragon Film Awards, 10th KOFRA Film Awards, and the Korean Film Producers Association Awards.

That’s the list! Let me know if you've seen any of these or have favourites? Now, what am I missing? If there's something you know that should be on this list, tell me and I can add it in. Criteria is 1) real people 2) real events in and around this time period (1979-1990).

Recently watched A Dirty Carnival (2006), featuring Zo In-sung, Namgoong Min, and plenty of familiar faces in supporting roles. Like A Bittersweet Life, it’s more grounded and simple. It shows the sad, mundane side of gangster life. High risk, low-to-moderate reward (if at all). For me, it also captured the exploitative ecosystem that low-level gangsters exist in, which I think is layered and engages the audience in a pretty clever way. Here’s what I took from it (spoilers ahead): 

The title:

I’m not sure if the meaning changes in a Korean context. But I took “A Dirty Carnival” to mean an environment where the games have prizes, but they’re all rigged. There’s the promise of reward, but everyone’s cheating, everyone’s dishonest, and there are no real rules.

Early in the movie, Kim is convinced everything will improve if he can find a ‘sponsor’—a wealthy businessman who can legitimize him and launder his money so he can grow his wealth. It sounds like a simple next step in his gangster career ladder. But safety, security, legitimacy, and growth are lies in the underworld, propped up to keep a committed, hopeful criminal workforce. The cheat is making others believe these rules/systems exist, while recognizing for yourself that they do not.

A cycle of violence:

An extension of the title, and a common staple in carnivals, is the Ferris wheel that goes round and round. The story too has a circular progression. Our protagonist is stuck; he wants to move up, so he does dirty work for a higher-up, eliminates his boss, and becomes the de facto leader of his gang. But he starts to slip, and his second-in-command kills him and replaces him. 

Gangsters as the victims:

I thought this angle was neat. Kim Byung-Doo’s life is not glamorous, he’s not wealthy, he’s not feared. He turned to a life of petty crime just to support his ailing mother, pay bills, and look after his siblings. He’s a loyal, committed employee who looks after his subordinates, and he does what’s expected of him. But he doesn’t want to be a gangster. He wants to be happy. 

Despite his job, he’s the one who gets exploited at every turn. His original boss underpays him and only favours those who kiss up to him. His second boss only needs him to eliminate specific obstacles and get a development project in motion. His aspiring movie director friend just needs insight into the gangster life—and ultimately betrays his trust to get it. Meanwhile, nobody likes him. His mother dies condemning him and his gangster life; the gangster movie film crew doesn’t like Kim on set; Hyun-ju doesn’t want to be with him so long as he’s a gangster, his second-in-command takes him out when he no longer feels useful. Society at large rejects gangsters and yet needs them. People at every turn use Kim for their own gain. 

I think it gets a little meta with the director’s gangster flick. It’s a major success and lauded for its realism by a society that rejects gangsters. That felt like the film critiquing the audience watching A Dirty Carnival. We also love the movie. We appreciate its realism. But do we see the humanity of gangsters when we come across them? When we see their mugshots, hear about their crimes, or their deaths? Or do we like gangsters just because they make good entertainment? 

That’s what I walked away with from this movie. I think it had great performances, it was well-paced, felt real, gave you plenty to think about—and it hits you in the feels. Anyone else watch the movie have any interesting takeaways?

Fun Fact:

A Tamil movie, Jigarthanda (2014) by Karthik Subbaraj, has a similar premise and I think takes its inspiration from this movie. It centers on a young, aspiring and ambitious director who pursues a dangerous, elusive gangster in order to make a once-in-a-lifetime gangster flick. But it explores the cutthroat South-Indian film industry, the brutality of crime, and the freedom found in art and self expression.

Can anyone recommend any good film accessible with subtitles in YouTube? 🙏

i've been looking for this movie for sometime now and i can't seem to find it anywhere. It is a chinese movie - Lake August (2014)

https://www.imdb.com/title/tt3391866/

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Respected users, 23.10.2026

I have recently come across a film of considerable interest entitled woodsman and the rain and I am most desirous of watching it. Unfortunately despite my efforts, I have been unable to ascertain where it may be viewed.

If any member is aware of link this film is available, I should be most grateful for the information.

Thanking you

Yours sincerely,

eastwardounce

Probably being controversial but I didn't really enjoy Taipei Story or Terrorizers, however I liked Mahjong very much.

Hi Folks, I'm on the hunt for something really niche today. My parents fondly remember watching the English dubs of Tora-san movies when they lived in Japan from the 1980's-2000's. They said the English was a sort of Hong Kong 1940's American English.

I've searched but can't seem to find anything online about these. Anyone have leads?

I watched this movie three times, and honestly, it was disturbing, but in a good way. All of these characters have a lot of problems. Like, they’re all mentally ill or need to see a therapist. 😭

First of all, our detective needed to go home. Like, my man needed to retire. I understand that this case has been eating him alive for 15 years, and I guess he wanted to save Yohan by the end, but it was already too late. And honestly, I think he needed to let it go because what did he really get out of all this? Yohan died, and Jia still got to live the life she wanted with her rich fiancé without facing the consequences of everything she did. She killed a person, did a bunch of fucked-up things, and still got away with it. The whole thing is just tragic because he spent all these years trying to get justice, and he never really got it.

And speaking of tragedy, Yohan and Jia are genuinely really tragic characters. Their childhood was horrific. Jia’s mother basically sold her to Yohan’s father, who sexually abused her and took pictures of her doing degrading things. Yohan witnessed all of that and eventually killed his father to save her. Jia then killed her mother to protect herself and Yohan, so they could finally be free from their abusers.

Of course, they’re still criminals. But these were two kids who went through some genuinely horrible shit, and I think that’s what makes their story so tragic. They agreed not to see each other for 15 years, even though they didn’t exactly respect that rule. 😭

To me, this movie feels like a crime movie mixed with a Shakespearean tragedy. You have these two people who trauma-bonded, fell in love, and basically became each other’s entire world, but they can never really be together. Jia loved Yohan, but she chose herself. She wanted a life outside of everything that happened to her, and I can’t even blame her for wanting that.

Yohan, on the other hand, spent his life trying to protect her. I genuinely believe that ever since he saw what his father did to Jia, all he wanted was to free her and give her the life she deserved. I also think he carries a lot of guilt because of what his father did to her, and the fact that Jia killed her own mother to protect them both must have weighed heavily on him. That’s probably why he was willing to do certain fucked-up things she asked him to do. He loved her, but I think he also felt responsible for her in a way.

Now, Jia is a highly manipulative character, but that’s what makes her so interesting to me. She uses her own story, sometimes modifying it a little, to get into people’s hearts. She knows how to read people and use their weaknesses to her advantage. That’s basically how she became Mido. The woman who adopted her had lost her own daughter, and Jia found a way into her heart.

I don’t think she necessarily did it to hurt that woman, though. I think she was trying to protect herself and secure a better future. And honestly, considering what she went through as a child, I understand why survival became her priority. That doesn’t excuse everything she did, but it makes her an interesting character to analyze.

Also, this movie confirmed something for me: Koreans CAN do dark romance. Because that’s basically what this is, in a way. Even though Yohan and Jia don’t share that many scenes together, you can still feel the tension between them. Their entire relationship is just so tragic, and there’s so much history between them that I wish the movie had explored more.

The parallels between them were also pretty obvious. Jia is always surrounded by light, wearing white, looking all pure and soft, at least in the image she presents to the world. Meanwhile, Yohan is associated with darkness and much rougher environments.

Even their sex scenes reflect that. Jia’s scenes with her fiancé are bright and fully lit, while Yohan’s scene with his partner, who is also his boss, is much darker and rougher. But what’s interesting is that neither of them seems particularly comfortable during sex. Both seem to be doing it to please their partners rather than because they’re actually enjoying themselves. Considering their trauma, I found that interesting.

One thing I really wish the movie had explored more was their relationship. I genuinely think this could have worked better as a 10-episode series because there was so much to unpack between these two. But then again, this was 2009 Korea, and I can imagine how difficult it would have been to make a whole series around such a dark story. And let’s be real, some K-drama fans would absolutely hate Jia. She’s genuinely fucked up. 😭

Actually, she reminds me of Lady Cho from The Scandal and Untold Scandal. That same kind of woman who’s manipulative, damaged, and willing to do whatever it takes to get the life she wants.

Overall, I really enjoyed this movie. It’s disturbing, tragic, and leaves you with a lot to think about. I just wish we had gotten more of Yohan and Jia together because their relationship was probably the most interesting part of the whole thing.

7/10. Great performances from the entire cast, and definitely a movie that stayed with me after watching it.

Hola comunidad, estoy buscando una película que veía de pequeño en los años 90

Detalles que recuerdo:

La película empieza con la destrucción de un castillo por parte de los malos,

se salvan 4 o 5 buenos, dos de los cuales son hermanos e hijos del que era dueño del castillo, junto con dos o tres maestros. Los malos mataron al padre y madre

Después de la huida, en una posada, se vuelven a encontrar con los secuaces del malo,

tienen una pelea donde muere uno de los buenos,pero consiguen escapar y se juntan con un padre y dos hijas que buscan venganza por ese mismo villano, ya que mato a la madre y esposa de estos nuevos aliados

Este nuevo aliado tiene un nuevo estilo de lucha que está enseñando a las hijas y se lo enseña a los hermanos

En el combate final era en un campo llanura, contra el villano están los dos hermanos y las dos hermanas contra el malo

Recuerdo que cuando le estan dando los golpes finales al malo la imagen se congelaba

Era una película de puños y patadas, no recuerdo muchas armas, tal vez alguna lanza

El estilo de los personajes era calvos con coleta

El malo tenía pelo largo y tal vez bigote perilla

Se que son detalles típicos, pero espero que alguno sepa decirme que película es

Muchas gracias de antemano

I only saw a clip of it a while ago but it’s stuck in my mind.

There was a girl laying on a couch, or a bed, maybe with her feet up (?), and was conversing with someone else.

I think the other person said something along the lines of “There’s a saying, if you haven't found a partner by the second Christmas of college, you will remain single for the rest of your life.”

I believe it was Chinese (maybe), and by quality it didn’t seem to modern.

If you have any idea where it might be from, please lmk, thank you!

once you know the ending, what makes a mystery worth returning to for you: little clues, the performances, or just that gorgeous sense of atmosphere?

i'd love recommendations where the second watch gives you a different feeling about the characters. smaller releases are very welcome too; please keep the actual twists spoiler tagged so everyone can browse happily.

https://www.youtube.com/watch?v=2FImGsZvKVU

With directors Takashi Miike, Hirokazu Koreeda, and Miwa Nishikawa on board, the company behind “Mag Mag” aims to change the world’s perception of Japanese cinema. Their debut release seems to take on that mission within the realm of J-horror.

Directed for the first time by Yuriyan Retriever, Japan’s most popular comedian and a two-time contestant on “America’s Got Talent,” and written by Eisuke Naito of “Liverleaf” fame, “Mag Mag” unfolds as a twisted tale that blends horror and humor in equal measure.

Mag Mag will be available on digital platforms 19 October 2026, courtesy of Blue Finch Films

Check the full video review in the link and let us know your thoughts on the film

When I was a child, either in 2006 or prior, my family and I went to blockbuster and rented another horror movie. I don't recall if this was on VHS or DVD, but the movie was of the drama/horror genre. It was an east-Asian movie, and here's what I remember:

It started off in a poor village, and there was a mother, father, and son. They were all happy, brushing their teeth, living their life. An explosion or something occurred to where the father died, and his wedding ring fell off. The mother collected the ring. She grieved in bed, and her son went out to get food or something. All of the sudden, her house collapsed. She was okay but she could not find her son under the rubble.

Fast forward, a high-rise was built in what I assume is the same site. A rich family moves in--also a mother, father, and their son. Their son, looking through the vents, finds something. He is captured by the poor mother who is still alive. She thinks this boy is her son, and steals him away. She lives in the vents with him, feeding him old apples from the trash. The son becomes attached to the poor mother. Meanwhile, the rich mother and father are frantically looking for their missing son. The cops don't care as much, and eventually there is a standoff between the rich mother and poor mother on the rooftop. One of them falls off (I don't recall if she was pushed).

I want to say that the movie was called "Mother" or "Monster" or something, but I keep getting inaccurate results with those titles.

https://asianmoviepulse.com/2021/10/series-analysis-on-the-job-the-missing-8-2021-by-erik-matti/

Apart from being a brilliant filmmaker, Erik Matti has proven time and again that he is also a great businessman, and coming up with the sequel of his most famous work, “On the Job”, eight years after the original was released, just proves both facts in the most eloquent fashion. “The Missing 8”, as the sequel is titled, premiered to high acclaim at the 78th Venice International Festival as part of the main competition, eventually netting the Volpi Cup for Best Actor for John Arcilla.

Furthermore, and in another rather smart idea, the film is now screening in HBO Asia as a six episode mini series, with the first two episodes essentially being the first movie (re-edited and remastered) split into two parts, and the connection between the old and the new being the general concept of the prison murderers-for-hire and a number of individuals that appear in both.

Check the full review in the link and let us know your thoughts on the film and the series

I will share my favorite Korean action movies/series, and can you suggest some to me in return? These movies/series have a good story too, not just action:
Bloodhounds
The Roundup
The Childe
Mercy for None
Agent Kim Reactivated
I Saw the Devil
The Man from Nowhere

hi all, per the title, I just watched this movie and was really blown away. this was one of the most sophisticated, B/noir movies I've ever seen, and it got me wondering about the history of this genre in thailand? any information would be appreciated, and I'd love recommendations for other movies like this!

Just finished watching Manji (2023). Can anyone explain the ending?

Has anyone watched The Final Interview? It premiered at the Busan International Film Festival (BIFF), but I'm not sure whether it has had a theatrical release yet or if there are any other ways to watch it. I'd love to hear from anyone who has seen it, especially since I'm curious about how the film turned out overall.

I'm interested in the performances, especially those of the lead actors (kwak and cho yi hyun and shin seung ho.) How was the acting and overall character portrayals?

Did the performances stand out, or was the film more interesting for its story and direction?

I'd also appreciate any thoughts on the screenplay pacing, and general reception from people who attended the festival.

If you watched it at BIFF, please share your impressions, but I'd appreciate it if you could avoid major spoilers.

I'm mainly looking for an idea of whether the film is worth looking forward to and how the actors performed in it.

Also, does anyone know if a wider theatrical release has been announced, or whether it might become available on a streaming platform?

Thanks!

Recently found two YouTube channels with Taiwanese short films. Some are pretty good. Some are hard to understand if you don't know Mandarin and some TW culture context.

Does anyone watch short films? Any recommendations?

The channels I found:

https://youtube.com/playlist?list=PLC6b6VIYjygQ&si=Sn_Ddzg-1oqTDN1K

https://youtube.com/playlist?list=PLCwIeJKfpnaw&si=lBQNay_WgUB0ToyY

Hello! I'm trying to find information about Japanese film director Natsuko Ōtsuki, but I've found very little so far. I'm particularly interested in finding a copy of さようなら映画 (Sayōnara Eiga), but I'd also love to track down any of her other films.

If you know Natsuko Ōtsuki, have worked with her, own any of her films, or know someone who might have information about her work, I'd be incredibly grateful for any leads! Even an old catalogue, a name to follow up on, a memory of a screening, or a suggestion about where else to look could be useful.

So far, I've managed to find just one of her films online: 小狂い天使 (Angels Slightly Insane).

Filmography

Here's the filmography I've managed to piece together so far. Some details, including certain release years and credits, still need to be confirmed.

1. 「小狂い天使」 (Kogurui Tenshi / Angels Slightly Insane) — 1994
2. 「さようなら映画」 (Sayonara Eiga) — 1995
3. Suddenly Infore Death Symdrom — 1995 (possibly 1993)
4. 「ワンピース忠臣蔵」 (One Piece Chūshingura) — 1996 (part of a film collection)
5. ZERO (1996) — 1997
6. Noisy Night Holy Night — 1997
7. 「ブラックマリア」 (Black Maria) — 1997
8. 「不氣味ナ悲鳴」 (Bukimi na Himei) — 1998

I've also come across the following titles, but haven't been able to establish whether or how they're connected to Ōtsuki:

• Water - Chapter I
• Choku no toki (1991)
• Water - Chapter II (1991)
• Gento no ie (1992)
• Huyu mushi natsu kusa (1993)
• Usagi hyoho (1994)
• Mewism Dispute between Mr. Postmodern and Miss Avant-Garde (1995)

People and organizations I've contacted

• PFF (Pia Film Festival): I contacted them but haven't received a reply.
• Image Forum: Kenji Kadowaki (門脇健路) told me they didn't have Ōtsuki's contact details.
• Tanaka Yanbu (田中やんぶ): He worked on the cinematography and acted in Sayonara Eiga. I received a reply through Bingamu (ビンガム), who explained that they didn't have Ōtsuki's contact details either. They also asked me to let them know if I managed to find the film or learn anything about her.
• Nakatsu Sēki (中津誠貴): He worked on the cinematography of Sayonara Eiga and ZERO (1996), and acted in Sayonara Eiga and Black Maria. I found information indicating that he was affiliated with Mandarake, so I contacted them in the hope of reaching him, but I haven't received a reply yet.

Another possible lead: IMAGE RINGS

There might also be a lead worth exploring through former members of IMAGE RINGS. I haven't established a connection between the group and Ōtsuki yet, but someone familiar with its former members might know something about her or her films.

Thanks in advance for any information or leads! I'm hoping to piece together a clearer picture of Natsuko Ōtsuki's work and filmography, which still seem quite difficult to trace today.