Zenju Imaizumi

Japanese film.

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.

Toku, a factory worker gives food to a starving woman, Tsuru, who then follows him home. He shares a shack in a shanty village in Kawasaki with his friend Pin-chan. The two men try to get rid of her but then let her stay when she gives them money. Tsuru tells the people of the village that she lost her job due to a strike, then was robbed of her severance pay, then sold to a brothel in Tsuchiura. She ran away with a friend from Kawasaki. Toku and Pin-chan sell her to a geisha house and spend the money. She is thrown out. The owner demands his money back. Tsuru earns the money to pay their debt by working as a prostitute outside the station. The other prostitutes beat her. She fends them off with a policeman's revolver and is then shot dead by the police.

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.

작은 섬의 학교에서 교편을 잡고 있는 다카코는 여름 방학을 이용하여 히로시마를 방문한다. 원폭 당시 유치원 교사로 일했던 다카코가 과거 자신이 가르쳤던 아이들의 소식을 듣기 위해 다시 히로시마를 찾은 것이다. 그렇게 아이들을 찾던 다카코는 길거리에서 우연히 예전 자신의 집에서 일했었던 이와키치 아저씨를 만난다.

작은 섬의 학교에서 교편을 잡고 있는 다카코는 여름 방학을 이용하여 히로시마를 방문한다. 원폭 당시 유치원 교사로 일했던 다카코가 과거 자신이 가르쳤던 아이들의 소식을 듣기 위해 다시 히로시마를 찾은 것이다. 그렇게 아이들을 찾던 다카코는 길거리에서 우연히 예전 자신의 집에서 일했었던 이와키치 아저씨를 만난다.

A short film on locomotives in Japan.

Twenty-year-old Yoshiko (Setsuko Hara) and her younger sister Asako (Yōko Yaguchi) struggle to accept changes in their home during the preparations of their widowed father's wedding to his chosen bride, Maki Tsuneko (Sadako Sawamura), who's anxious about her conduct as the bride.

This film attempts to reconstruct the tension of the Battle of Shanghai through an episode in an understated way, introducting its story in a documentary mode. In the film story, Japan's marine regiment protects Japanese residents and Chinese refugees-women and young children-from rampant street fighting, Shanhai Rikusentai unsparingly uses its first eight minutes for an official-mannered self-justification of the war. From the viewpoint of explaining Japan's military operation,the narration refers to the city s spatial division in sync with maps on screen.