Asian Drama

The sequel to "No. 1 For You" takes place five years after Zhou Shu Yi and Gao Shi De graduate from college. Their story will unfold as they juggle work responsibilities with the priorities of their personal lives.

Special Edition with some additional scenes.

It is not a simple thing to like someone, because... many times, we dare not say anything! "If first place is the only way to make you see me, then I will never lose to you before you fall in love with me."

Zhou Shu Yi stared at the class report and saw Gao Shi De’s name above him again. He didn’t understand. He had always ranked second ever since Gao Shi De came into his life. For this reason, he was excited to go to college and parted ways. He hoped to never see Gao Shi De again. In college, he joined the swimming club and was revered by everyone. He was happily enjoying college life until Gao Shi De suddenly appeared at the swimming competition during their senior year. This made him wonder why Gao Shi De always followed him wherever he went. But little did he know that Gao Shi De had eyes for him and would never let him go.

Special Edition with some additional scenes.

Almost defying description, Miike's film opens with found documentary footage about sperm-production in young males and then turns to a graphically violent recreation of the execution in 1865 of the 28-year-old Okada Izo, a low-born samurai who killed in the service of the anti-shogun rebel Hanpeita Takechi. Fast-forward through 15 decades of Japanese history: suddenly Izo's spirit possesses the body of a street-sleeper in an alley of Tokyo's financial district.

The reincarnated assassin goes on a killing rampage through time and space, from the Warring States period to the day after tomorrow, slaughtering everyone from a Buddhist elder to the prime minister ("Beat" Takeshi in one of dozens of star cameos), not forgetting his own mother. Nothing can stop him, because Izo is negation itself: the contradiction spewed up by the "perfect system" that is Japan. Nothing is immune to his attack, except perhaps the godlike emperor (Matsuda Ryuhei) and the maternal goddess of mercy (Momoi Kaori). Standing to one side, watching and commenting in song, is Tomokawa Kazuki, a radical folkie from the 1960s.