对任何事都追求完美的 Akari 在未来岳父的办公室工作。公司新来的清洁工 Hirai 犯了很多错误，经常受到 Akari 的责骂。有一天，平井偶然看到了一个催眠应用程序，并决定在侮辱他的 Akari 身上尝试一下。 Akari 被催眠并成为 Hirai 的性玩具
为了让变成鬼的妹妹祢豆子重新变回人类，灶门炭治郎加入了猎鬼组织“鬼杀队”，与同伴我妻善逸、嘴平伊之助一同对抗各类恶鬼，在成长的过程中彼此间的友情与羁绊也日益加深。此后，炭治郎与“鬼杀队”中最高级别的剑士“柱”们数次并肩作战。为备战即将到来的决战，炭治郎正与队员们一同挑战由“柱”们主持的联合强化训练时，鬼舞辻无惨突然现身于产屋敷宅邸。炭治郎与众“柱”虽为解救身处危机的主公大人而火速赶到，却遭无惨之手打入了一个神秘空间。炭治郎等人坠落之处，正是鬼的大本营“无限城”——“鬼杀队”与“鬼”的决战，就此拉开序幕。影片改编自同名畅销漫画《鬼灭之刃》。
第一集：一位24岁的女子被带进房间，接受时尚采访。这位出身富裕家庭的家庭主妇嫁给了父亲在她年轻时安排的男人。她表示，丈夫总是把工作放在家庭之上，即使新婚也经常让她一个人待着，而且两人之间没有性关系。她勉强答应了丈夫展示内衣的要求，并表示自己对富家千金的生活感到好奇。然而，在她整洁的白色衬衫下，隐藏着令人意想不到的性感内衣和丰满的身材，即使是轻微的触碰，这位年轻家庭主妇那孤独的身体也会迅速兴奋起来。第二集：在丈夫表示他一直在等着采访美丽的妻子后，这位家庭主妇同意了采访。她回答了关于时尚和购物的问题，也毫不犹豫地谈论了她的丈夫。这位家庭主妇生活舒适，丈夫的恩情也很好，但她表示，两人交往已久。当被要求查看内衣作为服装检查的一部分时，她犹豫了一下，但很快就接受了。这位家庭主妇说，她内心并不孤独，但身体却很孤独，有时会自我安慰，但她很快就屈服于男人的触摸。我久违地第一次在别人的身体上感受到了难以置信的快感
This long-lost masterpiece of hardcore gay erotic cinema centers on a handsome young stud who rides his motorcycle through myriad sexual encounters, from a soccer game’s locker room to a phantasmagoric and deeply melancholy orgy. A labyrinth of all-male fantasies whose outstanding beauties always end up fading away while leaving their sensual protagonist dealing with his own loneliness, EQUATION was directed with supreme grace by the mysterious Dietrich de Velsa (aka Francis Savel/Frantz Salieri). A former painter, de Velsa was also the owner and artistic director of La Grande Eugène, one of the first drag cabarets in Paris. Years later, he collaborated with Joseph Losey on MR. KLEIN (1976) and DON GIOVANNI (1979). His one and only film, EQUATION TO AN UNKNOWN stands as one of the most extraordinary erotic films of all time. “The most melancholic porn film I’ve ever seen. It’s very sad, and aesthetically beautiful. Just a young man wandering through several depictions of love and choreographies of love-making; it’s like a ceremony, a ceremony of fantasies, especially the last sequence where the main character recalls all his previous fantasies, which come one by one around his bed and make love to him. I think it’s one of the most beautiful film sequences of French cinema.” –Yann Gonzalez
