Our Marriage (1962)

The Angry Street includes a great deal of location shooting in the rebuilt city, including downtown streets, residential neighborhoods, the campus of the University of Tokyo, and the high life of jazzy dance halls. Sudo (Hara Yasumi) and Mori (Uno Jukichi) are two university students who make money by picking up rich girls in dance clubs and conning them into giving them cash. Mori is the brains of the operation, and Sudo is the suave dancer who picks up the girls. Over the course of the film, Sudo becomes involved with three different girls and is drawn into the gangster milieu, which he seems unable to resist even though he is responsible for his mother, grandmother, and sister, Masako (Wakayama Setsuko). In this world of bad boys and girls, Masako is the pillar of strength and moral virtue who finally enables Mori to straighten out.

전국 각지에서 모여든 전쟁고아 열 명이 무리를 지어 생활한다. 오갈 데 없던 아이들은 경찰에 붙잡히지 않으려 늘 긴장하면서도, 기차역 근처를 배회하며 쓰레기통을 뒤지거나 외다리 부랑자를 따라다니며 암시장 일을 하기도 한다. 그런데 아이들 앞에 한 군인이 나타난다. 전쟁 후 본국에 돌아온 그는 아이들과 마찬가지로 고아이며, 역시 돌아갈 곳이 없다. 그는 아이들을 이끌고 자신이 자랐던 고아원으로 가기로 결심한다.

This Italian film takes a chilling, nonexploitative look into the mind of a nice young man who compulsively rapes beautiful women. The rapes are graphically presented and may be disturbing to some viewers. Outwardly Luca seems to be a normal, quiet 20-year old. His mother is frequently gone. Trouble begins when Luca becomes obsessed with Valeria, the beauty who works in the next building. He begins spying on her, and then secretly filming her with his camcorder. He tries to get to know her, but she ignores him. Unable to stand her constant refusal, the frustrated young man accosts her on dark street and rapes her. The first rape was almost accidental; he encountered her on the street and he hurt her. Unfortunately, he liked the violence and begins raping every attractive woman he sees. He is particularly violent with Lorena, a jewelry saleswoman whom he beats up in a park before violating her.

The story of Marquise De Prie, the wife of Marquis De Savoy and the mistress of King Louis XV.

A scruffy detective investigates the murders of three sisters on a small Japanese island in 1946.

This French language drama from Portuguese filmmaker Manoel de Oliveira takes an ironic look at the pretentiousness of international jet-setters while simultaneously examining an obsessive romantic relationship between an aging Lothario and a beautiful married woman. The tale begins at a garden party in a lovely villa in the Azores held by Rogerio and Leonor for handsome, middle-aged Michel and his mistress Irene, a noted Greek movie star. The guests aren't there long before an obvious attraction between Leonor and Michel prompts them to head for a private beach (their tryst, if there was one, occurs off-camera). Five years later, the foursome again meet for a garden party and once again they pair off after spending much time discussing gender differences, emotion, social insight and exchanging witty bon mots.

여행사에 근무하는 하마지마는 결혼 10년차로 아이는 없고 아내와의 생활은 습관적이며 무미건조하기만 하다. 어느 날 퇴근길 버스에서 어린 시절 같은 동네에서 지내던 야스코라는 여인을 우연히 만나게 되고, 아내에게서는 볼 수 없는 그녀의 다정함에 점점 빠지게 된다. 한 편 야스코에게는 켄이치라는 6살 된 아들이 있었고 하마지마는 켄이치와 친해지기 위해 부단히 노력한다. 그러나 켄이치를 대할수록 묘한 동질감과 더불어 이상한 두려움도 느끼게 되는데...

A devout Catholic peasant girl is corrupted by two new friends when her family moves to the city. An allegory of traditional Polish values under threat from materialism and decadence in the post-Communist era.

As her husband Eiichi becomes more entangled in his life as businessman, Naoko looks for ways to expand her own life even as her husband's life shrinks in scope and intimacy. She finds new interests, new love, and a greater sense of her place in the world.

Young Kinu Yamabe is drawn to low-born Onimaru, who is vital and charismatic, but viewed by his father as a demon. After her first period, Kinu suffers the fate of any women born near the Sacred Mountain: she must leave the Mountain and serve as a priestess.

To solve the mystery of a murder of an old governess which takes place at a wealthy Daidoji family's country estate, family secrets and lies dating back several generations must be sorted out once and for all.

Slice of life film centered around a couple of years in the life of a rural high school girl.

Kenji Mizoguchi: The Life of a Film Director (Aru eiga-kantoku no shogai) is a 1975 Japanese documentary film on the life and works of director Kenji Mizoguchi, directed by Kaneto Shindo (Onibaba). It runs 150 minutes and can be found on the second disc of the Region 1 Criterion Collection release of Ugetsu (1953).

Michail Forman, a successful business manager, gets stuck in a traffic jam. The weather is lousy, his car breaks down and he forgot to buy a present for his 5th wedding anniversary. He jumps out of his car and finds some shelter in the entrance of a shopping mall. Attracted by a little girl he enters the mall, but once he's in, time and reality are no longer something to rely on.

A group of five rookie insurance salespersons, driven to desperation by the impossibility of their work in Japan's failing postwar economy, form a plan to rob a cash delivery truck in order to provide for their families.

On the night of the summer Obon festival, Hagiwara Shinzaburo meets a beautiful courtesan named Otsuyu. Not knowing she's a ghost, he becomes infatuated by her.

Ginko, a poor cobbler's daughter, becomes a geisha to support her family. She passes from one geisha house to the next, trying to find love and hope in the process. No matter how hard she tries, she just can't escape her sad fate.

The critical establishment was clearly not prepared to accept a woman's prison film featuring former prostitutes recovering from venereal diseases, unwanted pregnancies, and estranged lovers. With its cat fights, hysterical tantrums, film noir lighting, and dramatic music, White Beast is indicative of the new influences of the Hollywood psychological thriller on Naruse. Caged (John Cromwell, 1950) initiated a cycle of women's prison movies in the United States that may or may not have been shown in Japan, but the stylistics of White Beast draw on the same paranoid woman's films and film noir conventions that preceded the American cycle.

An ailing, elderly poet reminisces about his life of unrest and homosexual urges.

In the early 1800s, Prussian geographer Alexander Von Humboldt and French botanist Aimé Bonpland launch an expedition to explore the Amazon region, including the Orinoco River, from Venezuela to the border of Portuguese Brazil.