Synopsis
Early pink film directed by Giichi Nishihara.
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An American journalist travels through 19th-century Japan to find the prostitute he fell in love with but instead learns of the physical and existential horror that befell her after he left.
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Based on the factual case of a young man who broke into a nurses' home in Chicago, mutilating and killing several of the inmates, Wakamatsu's film is a precise, sad delineation of a particular aspect of masculine sexual consciousness.
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A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.
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Hiroshi and Misae have never been to a honeymoon trip to a foreign country. One day, Misae discovered an inexpensive and family-friendly holiday package to Australia and the Nohara family decided to make it their first honeymoon vacation. Hiroshi gets kidnapped upon arrival to Australia, leaving Shinnosuke, Misae and others on a dangerous journey. It turns out that Hiroshi is the key to a secret treasure. The remaining members of the Nohara Family must rescue Hiroshi, while a mysterious masked man and treasure hunters from all over the world are after him. The struggle is among three different groups in this action-filled treasure hunting adventure.
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The Noharas must survive a hoard of man-eating killer cacti after Shin-chan's father relocates the family to Mexico for work.
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When the mysterious Shiriri turns his parents into children, Shin-chan must trek across Japan to help return them to adult form.
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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.
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