Jôji Ohara

Jun Aisaka seduces one woman after another. His victims were flirtatious married woman Noriko, student Keiko, widow Mitsuko and dancer Rumi. As a result, he ends up in prison, but after escaping with another prisoner, he continues his criminal adventures with a partner. It is clear that this will not end well. Moreover, a couple of detectives are already on the trail of the criminals.

Horror film directed by Koji Shima.

Adaptation of Seicho Matsumoto's novel of the same name.

A comedy directed by Koji Shima about a men's game. Reckless and exciting, definitely worth watching! Miyoshi Oki was born in Hokkaido and grew up in a dirty carriage that his father owned. His dream was to have a horse with a good coat that costs 10 million yen and he set a goal for it. At the invitation of Otaki-gumi executive Iwasa, he joined Otaki-gumi while the leader Sozaburo was sick. Miyoshi's method is not to deal with the yakuza's morale and slashing, but to handle things mentally....

Seventeen years after the atomic bomb was dropped on Hiroshima, a newspaper reporter looks for the bomb's effects, but everyone seems to have forgotten. He meets a woman who was there when it happened but when they fall in love she isn't able to move on.

Seventeen years after the atomic bomb was dropped on Hiroshima, a newspaper reporter looks for the bomb's effects, but everyone seems to have forgotten. He meets a woman who was there when it happened but when they fall in love she isn't able to move on.

Shikiko Oba is nimble with her fingers and teaches dressmaking and designing. Among her pupils are Rinko, Katsumi and Tomie. Ginshiro, who is as shrewd as the shrewdest of the older generation of dyed-in-the-wool Osaka businessmen, steps into picture and Shikiko soon feels that he is indispensable to her. But the advent of a man in their midst breaks up the harmony that has existed among the four women, as gradually he forces himself on them with promises of love.

Contemporary musical drama film by Yasuzo Masumura.

Princess Kiyo accidentally injures a local priest, Anchin, while on a hunt. She apologizes, but feels irritated by Anchin’s indifference to her in spite of her beauty. One night, while Anchin is recuperating in a hot spring, he is approached by Kiyo. She tells him that she is in love with him.

Japanese crime film

Japanese drama

1959 adaptation of Junichiro Tanizaki's novel.

The fourth entry in the Company President Series

선거 위반으로 구속된 아버지를 찾아간 구치소에서 긴이치는 아키코와 알게 된다. 아키코의 아버지는 아픈 어머니를 입원시키기 위해 나쁜 짓을 하다 잡혔던 것이다. 긴이치는 오토바이에 아키코를 태우고 해안으로 간다. 수영복을 입은 아키코의 성숙한 모습에 긴이치는 충격을 받아 넘치는 에너지를 짜버리듯 놀이에 흥겨워 하지만, 그러던 중 3년 전에 가출한 엄마랑 우연히 만나게 된다. 아버지의 보석금으로 10만엔을 빌려 줄 것을 부탁하지만, 그 자신을 담보로 하지 않으면 돈은 빌려줄 수 없다고 거절 당한다. 한 편 아키코는 엄마의 입원비 뿐만 아니라 아버지의 보석금도 마련하지 않으면 안된다. 누드 모델만은 하고 싶지 않은 아키코는 그만 몸을 팔 결심을 하고 긴이치에게 헤어지자고 말한다. 긴이치는 그 때 몸을 빼앗길뻔한 상태에서 아키코를 구하고 엄마한테 빌린 돈 10만엔을 그녀의 손에 쥐어준다. '받을 이유가 없다'고 거절하는 아키코에게 긴이치는 격정적인 입맞춤을 한다. 상처 입은 아키코를 안고 긴이치는 처음으로 솔직하게 아키코에게 사랑을 이야기 한다.

The woman prison has a cast all with a story of their own and with no dull or routine day. There is an employee who is divorced after her husband had an affair. She loves the jailed criminals and almost sees them as family. One day at a workshop someone faints while working hard to make money because she has a poor boyfriend. Another inmate is knocked up Another is a mother and has her child with her.

A little girl who falls into a lake and is saved by a god who then takes her up to the clouds and shows her what the world was like before she was born and what the world would be like if she where never born. While in the clouds she meets her grandparents and a few other people she loved who have passed on.

A boy falls in love with a girl. Neither of them know that she's to be sold to a brothel.

Three young women make a suicide pact, but they grow to have a better understanding of themselves.

An Inn at Osaka, rarely seen outside Japan, follows the story of an insurance company executive from Tokyo, Mr. Mito, who is demoted to the Osaka office. He takes a room at a small inn and tries to rebuild his life. Notable for its exquisite framing and cinematography, An Inn at Osaka allows its complicated plotlines to disappear behind the minutiae of penury and humiliation that Mito and others suffer during the post-war economic and social reconstruction.

Buntaro, the president of a food trading company got tired of the day-to-day routine of life. The new secretary, Nobuko, suggested her "shacho-san" (the president) run away from the job. Nobuko took Buntaro to her home and introduced him to her own family as friend, "Sachio-san"...

Bittersweet shomin-geki drama by Keigo Kimura

옛 귀족 시나노 가문의 외동딸로 귀하게 자란 유키 부인을 오랫동안 동경했던 하마코가 드디어 부인 밑에서 일하게 되는데, 기대와 달리 부인의 불행한 처지에 대해 알게 된다. 가문을 잇기 위해 데릴사위로 들인 나오유키는 유키에게 만족하지 못하고, 교토의 캬바레 여자와 놀아난다. 그러나 유키에게는 방탕한 남편과 헤어지고, 오랫동안 서로 연모하고 있는 마사야와 하나가 될 용기 따위는 없다.

세츠코는 남편 미무라 때문에 불행한 결혼 생활을 이어가고 있다. 엔지니어 출신의 남편이 직업도 얻지 않고 매일 술만 마시는 까닭에 괴로운 것이다. 그럴 때마다 세츠코의 마음속에는 오래 전 헤어질 수밖에 없었던 히로시가 떠오른다. 사랑하는 사이였지만 프랑스 유학 때문에 헤어질 수밖에 없었던 것. 하지만 히로시가 돌아오면서 새로운 국면을 맞이한다.

A love triangle among a girl, her poor boyfriend, and a rich company president.

A platonic love story, the protagonist continues to love the woman he fell in love with when he was a boy for the rest of his life.

태평양전쟁 말기인 1944년. 전국 각지의 공장에서 군수 증산 운동이 시작된다. 정밀병기에 쓰이는 렌즈를 생산하는 동아과학에서도 남자는 100%, 여자는 50%의 증산 목표가 발표된다. 남자의 반이라는 목표에 자존심이 상한 여자 공원들은 스스로 목표치를 3분의 2로 높인다. 조장 와타나베 쓰루를 중심으로 여자들은 생산 증가를 위해 온 힘을 모아 노력하지만 얼마 안 가 피로가 누적되며 오해와 반목으로 무리가 생기기 시작한다. 하지만 상사들의 따뜻한 보살핌과 동료들 간의 이해를 통해 공원들의 결속은 더욱 강해지고, 그들의 노력 역시 보답을 받는다.

Venice Film Festival 1939

A Japanese screwball comedy about the battle between the sexes: two timid men, egged on by their wives, end up in a bitter duel over an expensive lace handkerchief.

The eldest daughter of a noble family is in love with an aviator while being courted by a fellow aristocrat she thinks is a dullard. This part is told from the perspective of Akemi.

Otoku asks her brother Bunkichi to speak with her son Seiichi, a young man for whom sacrificed everything but who now seems to be headed for a wastrel life. Bunkichi admonishes the boy to study harder, but it seems his uncle's advice may already be too late.

Family drama. A middle-aged father has just married off his third daughter, but still has his nine year old son to raise whom he resents as he was unwanted. (British Film Institute)

This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.

Heinosuke Gosho evokes in this film the family conflicts engendered by the eternal problem of a father who projects his professional desires on the life of his son. The sister Machiko is the essential link that will allow everyone to apologize to each other and achieve reconciliation

"The Dancing Girl of Izu" tells of the story between a young male student who is touring the Izu Peninsula and a family of traveling dancers he meets there, including their youngest girl. The student finds the naïve girl attractive even though he eventually has to part with the family after spending memorable time together.

This pair of gentle yet witty and inventive comedies from the director of The Neighbour's Wife and Mine typify both the formal experimentation of early Japanese sound cinema and the social milieux that Shochiku tended to depict. 'Virtually plotless, and feeling more like comic sketches than fully developed stories,' writes Arthur Nolletti, Jr, 'these light comedies, or farces, take a wholly trivial matter (often a socially embarrassing situation) and use it as a springboard for a succession of gags.' Much of the films' distinction comes from the wit of Gosho's direction, the imaginative use of the new sound technology and the charm of the acting, particularly of the heroines (Kinuyo Tanaka in Bride; Hiroko Kawasaki in Groom). Yet in both films, Gosho finds room for some shrewd observation of character and environment, subtly exploring the values and assumptions of the suburban petit bourgeoisie.