Chōchō Miyako

The 24th NHK Asadora. Starring Senri Yamazaki as a woman who makes her life at a fishing port.

The Yamadas are a typical middle class Japanese family in urban Tokyo and this film shows us a variety of episodes of their lives. With tales that range from the humorous to the heartbreaking, we see this family cope with life's little conflicts, problems, and joys in their own way.

Kenichi, the son of a master carpenter, was in his third year of high school. His mother, Motoko, was a resolute woman who took care of her husband's work. But one day...

A thief, a murderer, and a charming lady-killer, Iwao Enokizu is on the run from the police.

A greedy, materialistic family attempts to cover-up the embezzlement committed by the son while keeping their other schemes active. They discover there are other, equally conniving players involved.

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.

Erotic Pinku film showcasing he life of Buddhist nuns during the Edo Period.

Yuko is sent to the coastal regions to be raised away from the rest of her sophisticated family where she finds out from her ill grandmother that she is not who she thought she was.

A young thug wanna-be yakuza falls in love with a country girl.

After a quarrel with his mother, Torajiro sets off to find a bride.

A young girl knows that she is going to die and in this she is supported by the devotion of the boy who loves her. They originally met at the hospital. There it transpired that the only way to save her life was to sacrifice an eye and part of her face. The operation seems a success. Later, however, her other eye becomes affected. She feels she must let the boy go, and yet she depends so much upon his devotion.

Zatoichi is forced to kill a young man who owes a debt to a yakuza boss. Moments later, his sister Osode arrives with the money she earned (prostituting herself) to pay his debts. The bosses true motives are revealed and he attempts to steal Osode even though the debt is paid. Zatoichi realizes his grievous error and protects the girl from the gang. Osode and Zatoichi are caught in a dilemma as she must rely on her brother's killer for protection and Zatoichi wrestles with the injustice he has caused.

A sequel to Ohana han.

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Even after turning 30, Matsutaro Tokuda is still single and spends his days driving a white taxi. He likes to gamble, although he doesn't have a talent for it. However, there was a woman that fell in love with such a man...

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Princess Kinuta runs away from the palace because she doesn't want a marriage of convenience. Princess Kinuta, who has never left the palace, didn't enjoy communing with wildlife for long when she was chased by bandit moles and accidentally fell into the Valley of the Spider's Web. The princess and a white butterfly bound by a mysterious thread were about to be eaten by the spider queen when they are rescued by Tanukichiyo, a young wandering samurai who happens to be passing by. Historical fantasy comedy starring Hibari and Izumi.

Two obaachans become fast friends listening to music in front of a record store. They both boast about their loving sons but in reality, one had just escaped a retirement home and the other was looking for an escape from her son and daughter-in-law. With nowhere to go, the two wander around, befriending a cosmetics salesman and a kind waitress who give them beer. This biting social satire starring two memorable grandmothers, scripted by Yôko Mizuki, picked up on Japan’s aging population problem far ahead of its time.

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