Takashi Kono

A few days in the life of a quiet geisha, single mother of a smart young boy, in the lively Tokyo quarter of Ginza. A woman devoted to others' needs, she'll end by taking part herself in one of the many disguises of Ginza.

From June 1944, twelve Japanese seamen are stranded for seven years on an abandoned and forgotten island called Anatahan.

Part two of Shimizu's major silent Seven Seas, a family drama of the intertwining fates of the rich, decadent Yagibashis and the far less prosperous Sone family.

Brothers Keiji and Ryoichi move to a new neighborhood in the Tokyo suburbs after their father, an office clerk, is promoted. The boys join the local gang as lowly new kids and emerge as natural leaders after defeating a bully. While visiting the home of their father's boss, the brothers witness the ridicule their father endures to please his superior. Angry and embarrassed, the boys find their naive ideas about power being challenged.

Based on an original story by Yojiro Ishizaka, this well-made drama is set in a Christian school in a beautiful northern harbor town. Teacher Masaki (Obinata) speaks up for Keiko, one of the girls at the school, every time she causes problems because he feels sorry for her, a child born out of wedlock. Sumi (Natsukawa), one of Masaki’s colleagues and who is secretly in love with him, strongly disagrees with him about Keiko. Then Sumi hears a rumor that Keiko is pregnant with Masaki's child . . . .

The three-hour Ai yo jinrui to tomo ni are / Love, Be with Humanity (1931) starts as a satire of alienation in the world of money, develops into a lumberland epic with a forest fire on Sakhalin Island, turns into a tragedy of King Lear dimensions, and manages to amaze the blasé audience with a happy end in the Wild West.

The movie "Jump Out of the Window" is a heartwarming work that depicts the interaction between two families. Shusuke Tokuyama (Den Obinata) runs an agricultural and livestock industry, and has his father Ritaro (Hiroshi Shiomi), younger brother Yuji (Keiju Kobayashi), wife Fujiko (Kiko Todoroki), and four children (three of whom are Obinata's sons). They lived in a large family of 8 people, including 2 children and 2 daughters. The Fujieda family next door is Chieko (Ayako Okamura), whose husband, a captain, died in a shipwreck at sea, her daughter Mariko (Kyoko Kagawa), and her son Michio (Oohinata's son), who has a leg disability and is undergoing rehabilitation. ) We were a family of three. Through the interaction between the Tokuyama family and the Fujieda family, the importance of family and the kindness of people are reflected on the screen.

Shizuko Kasagi and Hideko Takamine star as young women who try to raise money for a needy old friend by becoming wandering singers who work for tips in Tokyo's Ginza nightlife district.

A love triangle among a girl, her poor boyfriend, and a rich company president.

Tozai Electric president Minamoto (Yanagi) is about to be pursued by the public prosecutor's office and tries to bribe Manabe (Saburi), the man in charge, but fails. His daughter Naeko (Takamine) finds out and takes on the role herself. This is a love romance adapted from an original story by Seiichi Funabashi that appeared in the magazine "Romance.”

War film by Kon Ichikawa

The three-hour Ai yo jinrui to tomo ni are / Love, Be with Humanity (1931) starts as a satire of alienation in the world of money, develops into a lumberland epic with a forest fire on Sakhalin Island, turns into a tragedy of King Lear dimensions, and manages to amaze the blasé audience with a happy end in the Wild West.

Obscure Japanese movie by director Kyotaro Namiki

Melodrama by Kiyoshi Saeki

Machiko falls in love with a mysterious man, but her family wants something different for her.

A fatherless boy's mother passes him from one aunt to another.

Yumiko, the president's daughter, meets a suspicious woman after her wedding ceremony with Tamio.

No description available.

A man (Masahiro Sugiyama), an idol otaku, picks up a monster fish and starts to raise it at home. At the same time, he moves in with a runaway girl (Yoko Oguchi), and the friction between them becomes more intense. The film was made at the end of the eighties, in response to the sense of stagnation in the provincial cities. It's a film with a darker side than my previous film "Love on the Street". It also has the strongest theatrical colour of all the films so far, but it shows the bankruptcy in a different way to "Street Corner of Love -".