The Ballad of Narayama

Kumota Yuta runs a guesthouse by himself. On a sunny day, he was leisurely fishing. Then Tetsukawa Tetsuo, who used to run a restaurant near the guesthouse, came over and started chatting about trivial things. In the guest room of the guesthouse, Omoteno Rokuji and Yonekawa Aoi are seen. Aoi originally came from the city to work at a brothel in this area, but she didn't get along with the people there.

A free spirited woman signs a contract with her boss to be his mistress but finds she needs more satisfaction than he can give.

Marika, a housewife, is presented with a creature called "Bero" that looks like a sea squirt from her husband Hiroki, who has decided to leave his family behind in Oman in the Middle East . Her husband tells her to pet "Bello" instead of him . When I start working alone, my sister Yuika visits my house with her boyfriend. My sister, whom I met for the first time in five years, quit the pachinko parlor with him and consulted with her brother-in-law, Yuki. He came to be troublesome for a while. Marika, who doesn't listen to her story, gives a dubious expression, but she eats the meal deliciously and allows the slapstick but friendly two to spend only one night. In the middle of the night, she receives an international call from her husband. When she asks why she didn't talk to him about Yuika, Yuki says, "You must be an only child."

Hinako, a married woman, feels unsatisfied with her married life with her husband, Takashi, so she suddenly declares a domestic separation and indulges in an affair with Shima, her senior from high school. Meanwhile, Hinako was confused when Yuri, whom she met at her favorite snack bar, asked her out.

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.