The Catch (1961)

An entomologist suffers extreme psychological and sexual torture after being taken captive by the residents of a poor seaside village.

After yakuza boss Kurata dissolves his own criminal empire, a rival kingpin offers a position to Kurata's top operative, Tetsuya "Phoenix Tetsu" Hondo. When the fiercely loyal Tetsu declines, Otsuka taps unstoppable Tatsuzo the "Viper", a ruthless gun-for-hire, to assassinate him. As the Viper trails his target through the countryside, the agile Phoenix Tetsu grows concerned that one of his former associates has betrayed him.

Subu makes pornographic films. He sees nothing wrong with it. They are an aid to a repressed society, and he uses the money to support his landlady, Haru, and her family. From time to time, Haru shares her bed with Subu, though she believes her dead husband, reincarnated as a carp, disapproves. Director Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend’s obsession. Imamura’s comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time.

A family of four are the sole inhabitants of a small island, where they struggle each day to irrigate their crops.

A businessman with a disfigured face obtains a lifelike mask from his doctor, but the mask starts altering his personality.

In the city of Yokosuka, Kinta and his lover Haruko, both involved with yakuza, brave the post-occupation period with a goal to be together.

A budding gangster enthralls a freeloading young woman, soon taking advantage of her knack for hitch-hiking to rob middle-class, middle-aged men.

Muraki, a hardboiled Yakuza gangster, has just been released from prison after serving a sentence for murder. Revisiting his old gambling haunts, he meets Saeko, a striking young upper-class woman who is out seeking thrills, and whose presence adds spice to the staid masculine underworld rituals. Muraki becomes her mentor while simultaneously coping with the shifts of power that have affected the gangs while he was interred. When he notices a rogue, drug-addicted young punk hanging around the gambling dens, he realizes that Saeko's insatiable lust for intense pleasures may be leading her to self-destruction.

In the shady black markets and bombed-out hovels of post–World War II Tokyo, a tough band of prostitutes eke out a dog-eat-dog existence, maintaining tenuous friendships and a semblance of order in a world of chaos. But when a renegade ex-soldier stumbles into their midst, lusts and loyalties clash, with tragic results. With Gate of Flesh, visionary director Seijun Suzuki delivers a whirlwind of social critique and pulp drama, shot through with brilliant colors and raw emotions.

A man wanders into a seemingly deserted town with his young son in search of work. But after a bit of bad luck, he joins the town's population of lost souls.

Two brothers compete for the amorous favors of a young woman during a seaside summer of gambling, boating, and drinking.

Conditions have been better for the nameless protagonist: his grandmother is a shoplifter and his war criminal father and sister have an unhealthy, intimate relationship with the family rabbit.

Nagisa Oshima’s most personal film is a reflection by the director on his own disillusionment with the revolutionary student movement of the 1950s and the failure of political radicalism. Taking its title (as a reference or homage) from Alain Resnais’ pivotal 1956 documentary Nuit et Brouillard, the film has a group of former student revolutionaries who meet again years later at the wedding of one of their classmates. Old feelings, rivalries and grudges gradually erupt to the surface as the one-time friends recall the various treacheries by which their cause was defeated. Cutting between times past and the present, and unfolding the action from each of his characters viewpoints, Oshima creates an abstract and yet engrossing study of passions past and principles eroded. —Yume Pictures

Nishi is an advertising executive for a caramel company that is planning to launch a new product, in fierce competition with two other companies.

In Osaka's slum, youths without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers.

Sadako, cursed by generations before her and neglected by her common-law husband, falls prey to a brutal home intruder. But rather than become a victim, she forges a path to her own awakening.

Struggling with his true emotions, dreams, memories of the past and the reality Shizuo is about to marry, but is torn between his wife-to-be and the love to his mother.

A middle-aged factory engineer trains, marries, and ultimately loses a teenage bride after she enslaves him to her whims.

Assassination begins with the events of 1853 when "four black ships" anchored at Edo Bay, sparking civil unrest and the major political manoeuvring that saw the end of the Tokugawa Shogunate. At a time when assassination had become a disturbing political tool, Shinoda's film follows Hachiro Kiyokawa, an ambitious, masterless samurai whose allegiances drift dangerously between the Shogunate and the Emperor.

Desensitized and dissatisfied, a young yet jaded sexual veteran sets out on a journey of self-discovery while teetering on the threshold of womanhood. Yasuko is taking part in an orgy when she realizes that she has lost all feeling - not just physically, but emotionally as well. Now, with the weight of responsibility and adult expectation weighing down on her shoulders, Yasuko attempts to better understand how she could be so empty at such a tender age.