This surrealistic comedy follows the life of Haruo Maekawa, a young man who makes a living catching squid. Haruo is obsessed with catching a legendary giant squid rumored to live in Tokyo Bay. Haruo's uncle Takashi, fallen on hard times, comes to stay with his nephew until he can get back on his feet. Uncle Takashi is addicted to energy drinks, and seduces any woman in sight, including Haruo's girlfriend Rika. While praying at a Shintō shrine, Uncle Takashi is bitten in the scrotum by a poisonous snake and dies. The uncle is destined to spend the afterlife in Hell unless his nephew and girlfriend can rescue him from the King of Hell.

Uncle's Paradise

When he is hit by a car on the street, the young man Daikoku foresees the monster Demking appearing at the end of the century. In preparation for the coming confrontation with the Demeking, he organizes a modern-day Seven Lucky Gods composed entirely of antisocial people. This is a utopian epic that, despite the ridiculousness of the story, is the most powerful depiction of the motifs seen in the first two films, which attempt to play on the sense of apocalypse through unrealistic imagination, while staying within a tenuous sense of reality.

Demeking

The film tells the story of Aiko, a 35-year-old mute woman who works in a bowling alley, and her brief romance with Yoshioka, a younger man who works as a postal carrier. The two meet when Aiko accidentally knocks Yoshioka off his bicycle, and they have a sexual encounter soon after. Aiko begins preparing lunchboxes and giving them to Yoshioka at his workplace as a way of expressing affection, which she cannot do verbally.

Lunch Box

35-year-old Asuka works in a lakeside fish factory. She’s about to be married to her boss, Taki, but one day, she encounters a kappa – a water sprite found in Japanese folklore – and learns that the creature is in fact the reborn form of Aoki, an old crush who’d drowned when they were 17.

Sualtı Aşkı

In this offbeat coming-of-age tale, a charming, rebellious high school dropout named Kanta befriends the kind, provincial Shoji. The two bring out the best in each other, each gaining confidence from their friendship - especially regarding pursuit of the opposite sex. The working class Kanta becomes a sort of unruly anti-hero, maintaining his pride, defiance, and self-assurance even as his prospects seem increasingly grim.