Kuichirô Kishida

태양계에서 새롭게 발견된 수수께끼의 별 X성을 탐사하던 P-1호는 X성에서 고도의 문명을 지닌 X성인을 만나게 된다. 모든 것을 숫자로 부르는 X성인은 그 곳이 공포의 괴수 ‘몬스터 제로’에게 공격받고 있다고 말하는데, 몬스터 제로의 정체는 다름 아닌 우주대괴수 킹 기도라였다. X성인들은 지구인들에게 킹 기도라와 싸우기 위해 ‘몬스터원=고지라’와 ‘몬스터투=라돈’을 빌려달라고 요청한다. (2014년 18회 부천국제판타스틱영화제)

When a rare species of butterfly is found in a mysterious valley in Japan, a pair of entomologists go to investigate and find more. They discover Varan, a giant monster, Who decided to leave the valley and head straight for Tokyo.

An Ishiro Honda film.

Aiko, a bar hostess, falls for the son of a company president who also keeps a mistress, and whose family disapproves of his relationship with the bar hostess.

The actor Koheiji is terribly in love with the wife of his best friend, the playwright Takuro; to get her, he would even kill Takuro.

어릴 때부터 생업전선에 뛰어든 뒤 몇 명의 남자들 사이에서 험난한 시간을 보낸 오시마의 삶을 그린 작품. 19살에 결혼한 오시마는 열심히 일하면서 행복하게 살려 하지만 바람기 많은 남편 때문에 마음 고생을 한다. 여기에 불운한 사고까지 겹치면서 오시마는 이혼을 하고 다른 마을로 팔려간다. 하지만 그녀는 끝까지 좌절하지 않고 계속해서 희망을 찾는다.

During an assignment, foreign correspondent Steve Martin spends a layover in Tokyo and is caught amid the rampage of an unstoppable prehistoric monster the Japanese call 'Godzilla'. The only hope for both Japan and the world lies on a secret weapon, which may prove more destructive than the monster itself.

During an assignment, foreign correspondent Steve Martin spends a layover in Tokyo and is caught amid the rampage of an unstoppable prehistoric monster the Japanese call 'Godzilla'. The only hope for both Japan and the world lies on a secret weapon, which may prove more destructive than the monster itself.

A human billboard and a shoeshine girl met a kid of five who got separated from her mother at a street of Ginza. They try to find a mother in a crowded town...

Parent apathy to sexual education leads to various troubles for the young cast.

A high-born woman named Okuni travels around the country with Gohei, a samurai retainer who is in service to her. They are in search of Tomonojo, who has killed the man who was Okuni’s husband and Gohei’s master, and they cannot return to their lord’s home until they have fulfilled their duty of hunting down and killing Tomonojo.

작가와 발레 선생인 아내의 관계는 수년 동안 다른 남자를 사랑해 오다가 결국 가족의 파탄으로 이어진다.

Though recognized worldwide almost exclusively for his colorful kaiju fare, director Ishirō Honda (Godzilla, Rodan, Mothra) was a natural humanist with a particular understanding of the relationship between people and their social environs. His debut fiction feature, The Blue Pearl (Aoi Shinju) – virtually unseen in the west until now – depicts the melodramatic, but keenly-observed interplay between a young man from Tokyo and two ama (pearl divers; literally “women of the sea”) in a superstitious coastal town. Though raised within the same tradition-bound crucible, the two women – Noe and Riu – are portrayed as diametric opposites; the former meek but affectionate, the latter strong-willed but jaded by a tryst with metropolitan life. Nonetheless, Honda provides equal weight to their desires and their ambitions to break free from the social mold imposed upon them from birth.

A Japanese adaptation of Guy de Maupassant's short story Boule de Suif, directed by Kimura Keigo

Wataru Naohiko who has the prosecutor general as his father became a young composer and its symphony "saint" invoked the world echoed. But his disciple Uchiyama and his best friend prosecutor Daisuke Toki accused his music as a sesame of pause-only technique, not a truly heart-hungry art.

Woman melodrama by Shiro Toyoda

During his summer holiday, Kawasaki Ryuichi (Ryuzaki Ichiro), a handsome engineer in his late twenties, visits his teacher and mentor, Professor Inagaki (Sugai Ichiro), at his seaside home. There he meets the professor's lovely young wife, Sachiko (Hamada Yuriko), and is unsettled by the striking resemblance she bears to his wife, who died three years earlier. Attracted to Sachiko, he does his best to hide his feelings. The couple, however, senses a deep-seated melancholy in him. Attributing it to the loss of his wife, they urge him to marry their niece, Kaoru, but he is not interested. Shortly after, Fumiko , Sachiko's older sister, realizes that Sachiko and Kawasaki have feelings for each other, but she keeps her counsel. One day Kawasaki, Sachiko, and Kaoru go boating when a storm forces them to stay overnight at a hotel. Unable to sleep, Kawasaki takes a walk along the beach where he finds Sachiko, also unable to sleep. He declares his love for her.

전쟁의 상흔이 가시지 않은 도쿄. 친구 하숙집에 얹혀 사는 유조와 언니 집에서 열여섯 식구와 함께 사는 마사코는 일주일에 한 번, 일요일의 데이트가 유일한 즐거움이다. 맛있고 값도 싼 ‘히아신스’라는 이름의 커피숍을 여는 것이 꿈인 두 사람. 하지만 현실은 비참하기 그지없어, 수중에 가진 돈이라곤 35엔이 전부다. 모델하우스도 구경해 보고, 세가 싸다는 아파트도 보러 가지만, 두 사람의 형편으론 그 어느 곳도 무리일 뿐이다. 유조의 친구가 경영하는 카바레에서도 냉대받고, 비를 맞으며 보러 간 연주회는 암표상이 표를 다 사 버려 매진이다. 그러나 두 연인들은 희망을 잃지 않고, 또 다시 내일을 준비한다.

A small community in wartime Japan learn how to make do with less.

야심만만한 젊은 노(能) 배우 기타하치는 여행 도중 유명한 배우인 소잔에 대한 이야기를 듣는다. 소잔에 대한 궁금증이 생긴 기타하치는 직접 그를 만나지만 그에게 큰 모욕을 주고 만다. 이 일로 기타하치는 스승이자 양아버지인 겐자부로와 사이가 나빠지고, 그로부터 2년이 지난 뒤 소잔의 딸에 대한 안타까운 소식을 듣는다.

The title might sound shocking, but the red hands mean, the hands which drag fishnets. Ohama, 15 or 16 years old girl lost her family and lived alone in a fishermen's village. She is a strong-minded girl and very popular among young children. I guess that this story is one of the origins of girl's manga in the 1950s in which I belonged to the first generation of Japanese story manga.

1941 Toho adaptation of Natsume's novel.

Japanese propaganda film

Song of the White Orchid was a co-production of Toho and Mantetsu, the railway that served the colonial region of Manchuria, and the first film in the Kazuo Hasegawa/Shirley Yamaguchi (Ri Koran) “Continental Trilogy.” Handsome Hasegawa (representing Japan) runs up against an impertinent Yamaguchi (representing the continent); not surprisingly, in the course of the film the woman comes around and realizes the benevolent intentions of the Japanese. In Song of the White Orchid Yamaguchi leaves Hasegawa, who plays an expatriate working for the railway, because of a misunderstanding. She joins a communist guerilla group plotting to blow up the Manchurian railway. Learning of the subterfuge that led to the misunderstanding, she renews her faith in Hasegawa—and by extension Japan—and tries to undermine the plot.

The Whole Family Works, Mikio Naruse's adaptation of a Sunao Tokunaga novel, feels more of a piece with the writer/director's quietly observant and psychologically charged later work. For the Naruse-familiar, it is an anomaly only in its placement within his filmography—indeed, this could be a film made by the elder, stasis-minded Naruse momentarily inhabiting, through a metaphysical twist of fate, his stylistically exuberant younger self. Set in depression-era Japan around the time of the Sino-Japanese War (which the director evokes, during a brief dream sequence, by dissolving between children's war games and actual adult warfare), The Whole Family Works gently observes a family coming apart at the seams. Ishimura (Musei Tokugawa) is the jobless father of nine children.