. . . . . . "Takahisa Zeze"@en . . . . "\uC81C\uC81C \uB2E4\uCE74\uD788\uC0AC(\u702C\u3005 \u656C\u4E45, 1960\uB144 5\uC6D4 24\uC77C ~)\uB294 \uC77C\uBCF8\uC758 \uC601\uD654 \uAC10\uB3C5\uC774\uC790 \uAC01\uBCF8\uAC00, \uC5F0\uCD9C\uAC00, \uBC30\uC6B0\uC774\uB2E4."@ko . "Takahisa Zeze (\u702C\u3005\u656C\u4E45, Zeze Takahisa, born 24 May 1960) is a Japanese film director and screenwriter first known for his soft-core pornographic pink films of the 1990s. Along with fellow directors, Kazuhiro Sano, Toshiki Sat\u014D, and Hisayasu Sato, he is known as one of the \"Four Heavenly Kings of Pink\" (\u30D4\u30F3\u30AF\u56DB\u5929\u738B, pinku shitenn\u014D). In recent years, he has directed such major commercial hits as 64: Part I, 64: Part II, and The 8-Year Engagement, while continuing to make independent art films like Heaven's Story and The Chrysanthemum and the Guillotine."@en . . . "13569835"^^ . "Takahisa Zeze"@en . . . . . "1960"^^ . . . . . . . "Takahisa Zeze, f\u00F6dd \u00E5r 1960 i , Japan, \u00E4r en japansk filmregiss\u00F6r och manusf\u00F6rfattare. Han \u00E4r ett av de stora namnen inom pink film-genren."@sv . . . "0955270" . . . "1114122773"^^ . . "1960-05-24"^^ . . "for Upcoming Scenery"@en . . . . . . "1989"^^ . . "\u702C\u3005 \u656C\u4E45\uFF08\u305C\u305C \u305F\u304B\u3072\u3055\u30011960\u5E745\u670824\u65E5 - \uFF09\u306F\u3001\u65E5\u672C\u306E\u6620\u753B\u76E3\u7763\u3001\u811A\u672C\u5BB6\u3001\u6F14\u51FA\u5BB6\u3001\u4FF3\u512A\u3002"@ja . "1989"^^ . . . . "\u702C\u3005\u656C\u4E45"@ja . . . "for Keep on Masturbating: Non-Stop Pleasure"@en . . . . . . . . "1960-05-24"^^ . . . . "for Endless Sex"@en . . . . "Takahisa Zeze (\u702C\u3005 \u656C\u4E45, Zeze Takahisa), n\u00E9 le 24 mai 1960, est un r\u00E9alisateur et sc\u00E9nariste japonais. Avec les r\u00E9alisateurs Kazuhiro Sano, et Hisayasu Sat\u014D, il est connu comme l'un des \u00AB quatre dieux du pink \u00BB (\u30D4\u30F3\u30AF\u56DB\u5929\u738B, Pinku shitenn\u014D)."@fr . "Takahisa Zeze (\u702C\u3005\u656C\u4E45, Zeze Takahisa, born 24 May 1960) is a Japanese film director and screenwriter first known for his soft-core pornographic pink films of the 1990s. Along with fellow directors, Kazuhiro Sano, Toshiki Sat\u014D, and Hisayasu Sato, he is known as one of the \"Four Heavenly Kings of Pink\" (\u30D4\u30F3\u30AF\u56DB\u5929\u738B, pinku shitenn\u014D). In recent years, he has directed such major commercial hits as 64: Part I, 64: Part II, and The 8-Year Engagement, while continuing to make independent art films like Heaven's Story and The Chrysanthemum and the Guillotine."@en . . . "Takahisa Zeze"@fr . . . . . . . . . . "for Endless Sex"@en . "Takahisa Zeze (\u702C\u3005 \u656C\u4E45, Zeze Takahisa), n\u00E9 le 24 mai 1960, est un r\u00E9alisateur et sc\u00E9nariste japonais. Avec les r\u00E9alisateurs Kazuhiro Sano, et Hisayasu Sat\u014D, il est connu comme l'un des \u00AB quatre dieux du pink \u00BB (\u30D4\u30F3\u30AF\u56DB\u5929\u738B, Pinku shitenn\u014D)."@fr . . . . . . . . . "Takahisa Zeze"@en . . . . . . . . . . . "Takahisa Zeze"@en . "1996"^^ . "1989"^^ . "1995"^^ . . . . . . "16007"^^ . . "150"^^ . . . . . . . "Takahisa Zeze, f\u00F6dd \u00E5r 1960 i , Japan, \u00E4r en japansk filmregiss\u00F6r och manusf\u00F6rfattare. Han \u00E4r ett av de stora namnen inom pink film-genren."@sv . "\uC81C\uC81C \uB2E4\uCE74\uD788\uC0AC"@ko . . . . . . . . "for Upcoming Scenery"@en . . "for Sisters Donburi: No Pulling Out"@en . . . . . . . . . . . . . . . "\uC81C\uC81C \uB2E4\uCE74\uD788\uC0AC(\u702C\u3005 \u656C\u4E45, 1960\uB144 5\uC6D4 24\uC77C ~)\uB294 \uC77C\uBCF8\uC758 \uC601\uD654 \uAC10\uB3C5\uC774\uC790 \uAC01\uBCF8\uAC00, \uC5F0\uCD9C\uAC00, \uBC30\uC6B0\uC774\uB2E4."@ko . . . . . . . "\u702C\u3005 \u656C\u4E45\uFF08\u305C\u305C \u305F\u304B\u3072\u3055\u30011960\u5E745\u670824\u65E5 - \uFF09\u306F\u3001\u65E5\u672C\u306E\u6620\u753B\u76E3\u7763\u3001\u811A\u672C\u5BB6\u3001\u6F14\u51FA\u5BB6\u3001\u4FF3\u512A\u3002"@ja . . . "Takahisa Zeze"@en . . . . . . . "Takahisa Zeze"@en . "Takahisa Zeze"@sv . . "955270"^^ . . . . . . . . . . . . . . . . . .