Tsutomu Tamura

A sex-obsessed woman, a suicidal man she meets on the street, and a gun-crazy wannabe gangster become trapped in an underground hideaway.

Four sexually hungry high school students preparing for their university entrance exams meet up with an inebriated teacher singing bawdy drinking songs. This encounter sets them on a less than academic path.

A Korean man is sentenced to death in Japan but somehow survives his execution, sending the authorities into a panic about what to do next.

A family of four lives off of scams in which they pretend to be injured by automobiles.

Though his parents help him run the family business, Jun still feels persecuted by their love; when they bar him from meeting with his girlfriend, tensions increase.

In Tokyo's Shinjuku district, the lives of a young man prone to theft, a young woman he meets at a bookstore, and a kabuki actor intersect.

As a young woman, Oriko condemned her widowed mother for openly pursuing relationships with younger men. After her mother passes away, she finds herself in an unhappy, loveless marriage and begins to understand her mother’s actions.

Oshima’s magisterial epic, centering on the ambivalent surviving heir of the Sakurada clan, uses ritual and the microcosm of the traditional family to trace the rise and fall of militaristic Japan across several decades.

In this drama at the end of World War II, the inhabitants of a small Japanese fishing village must come to terms with their nation's defeat and the sudden occupation of General MacArthur and his troops.

Towards the end of WWII, a black American pilot is captured and imprisoned by rural Japanese villagers, who await official instructions as to how to proceed with their 'catch'.

Two young women must come to terms with the fact that a man they're deeply linked to is a murdering rapist.

A young girl in an industrial town is saving her money to enter college. But her drunken father loses his job, her mother cannot make ends meet, and then the boy she likes loses everything when his factory fails. She takes all her savings out of the bank and offers them to him to make a new start. He refuses at first but eventually agrees and so she goes back to school to tell her teacher that she has decided not to continue college, that she is young and strong, and can make her own way in life.

When a lone traveler stumbles upon a remote, drought-stricken village, he finds himself engulfed in a whirlpool of myth, mystery, and magic: in a nearby pond reside spirits who hold the fate of the town’s inhabitants, including lovers Akira and Yuri, in their hands.

Kei and Atsuo were both enrolled in summer school. Kei was an honor student, and Atsuo was the polar opposite - but opposites attract. After school, the two head to the beach, where they find another student from their school competing against a local gang member, to see who is able to hold his breath longer under water. Overwhelmed by the excitement, Kei and Atsuo decide to try themselves.

14-year-old Sunaoko travels from Tokyo to Naha, Okinawa, with her father’s young fiancée Momoko in search of her half-brother whom she has never met. Their guide, a beer-guzzling ex-soldier, takes them to the locale’s tourist attractions, quickly delving into the underlying scars of the island’s wartime history.

Three students spend their holidays at the seaside where they are mistaken for Koreans, a minority which is looked down on in Japan. The action develops into a crime story.

Based on a semi-autobiographical story by Ogai Mori, about a Japanese medical student who goes to Berlin to study in the 1880s and falls in love with a German ballet dancer.

Hanayome wa Jūgo-sai, directed by Mio Ezaki and distributed by Nikkatsu, stars Masako Izumi and Ken Yamauchi. The high-key pink background and casual photographic portrait embody Nikkatsu’s 1960s youth-film aesthetic. Clean, hopeful, and pop-oriented. The large white title, handwritten for a softer impression, injects playful energy that contrasts with the strict vertical text blocks. As Japan’s youth culture blossomed after the 1964 Tokyo Olympics, posters like this captured the spirit of romance and rebellion marketed to teenage audiences. The vivid color palette and carefree composition signal a stylistic shift from postwar black-and-white melodrama to the vibrant optimism of modern Technicolor cinema.

The lives of a teenager, his impoverished family, a wealthy young woman who buys a pigeon from him, and his caring teacher converge and consequently become more complicated.

As the post-war turmoil continued, Take, the boss of the waifs, stole the money of US soldiers and lived with friends. They were like children of wolves. By chance, they were found by and became a members of a yakuza family. Five years later, Take dominated the port town as a young boss.