Shôsuke Oni

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

Wataru's outwardly liberal views on marriage are severely tested when his daughter declares her love for a coworker and is adamant to live her own way, instead of agreeing to an arranged marriage. Outwitted by his female relatives, Hirayama stubbornly refuses to admit defeat.

A woman and her daughter are each forced to contend with an increasing pressure to marry, particularly from three men who knew her late husband.

A young salaryman and his wife struggle within the confines of their passionless relationship while he embarks on an extramarital affair.

A gangster gets released from prison and has to cope with the recent shifts of power between the gangs, while taking care of a thrill-seeking young woman, who got in bad company while gambling.

From 1928 to 1946, the lives of 12 young people and their school teacher in a poor Japanese village are profoundly affected by historical events and personal circumstances.

When her only relative, her elder brother is accused of robbing and murdering an old woman loan-shark, pretty, young Kiriko travels from her home in Kyushu to Tokyo to get Japan's top lawyer to defend her brother. Unfortunately her naive idealism is shattered when the lawyer refuses to take the case based on her insufficient funds. What follows is a long determined revenge plot that sees the heroine become a Tokyo bar hostess and worse to punish the lawyer. The plot thickens with another murder mystery and a sleuthing reporter.

Years of warfare end in a Japan unified under the Tokugawa shogunate, and samurai spy Sasuke Sarutobi, tired of conflict, longs for peace. When a high-ranking spy named Tatewaki Koriyama defects from the shogun to a rival clan, however, the world of swordsmen is thrown into turmoil. After Sasuke is unwittingly drawn into the conflict, he tracks Tatewaki, while a mysterious, white-hooded figure seems to hunt them both. By tale’s end, no one is who they seemed to be, and the truth is far more personal than anyone suspected. Director Masahiro Shinoda’s Samurai Spy, filled with clan intrigue, ninja spies, and multiple double crosses, marks a bold stylistic departure from swordplay film convention.

Seeking revenge against the guard who tormented him, a young man returns to the island where he was imprisoned in reform school. But his plans for vengeance are disturbed when he encounters a strange and beautiful young woman.

Two detectives begin a stakeout based on the slim chance of catching a murderer whom they suspect will try to reunite with an old flame.

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A vengeful contractor hires a series of young killers to target a woman muckraker. Trouble brews when an amateur marksman shows up his eclectic competition.

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The backstage romances of an egotistical singer and his under-valued manager, a lovelorn bandman and a nude dancer.