Shinzō Shibata

In the shady black markets and bombed-out hovels of post–World War II Tokyo, a tough band of prostitutes eke out a dog-eat-dog existence, maintaining tenuous friendships and a semblance of order in a world of chaos. But when a renegade ex-soldier stumbles into their midst, lusts and loyalties clash, with tragic results. With Gate of Flesh, visionary director Seijun Suzuki delivers a whirlwind of social critique and pulp drama, shot through with brilliant colors and raw emotions.

Volunteering as a "comfort woman" on the Manchurian front, where she is expected to service hundreds of soldiers, Harumi is commandeered by the brutal Lieutenant Narita but falls for the sensitive Mikami, Narita's direct subordinate. Seijun Suzuki's Story of a Prostitute is a tragic love story as well as a rule-bending take on a popular Taijiro Tamura novel, challenging military and fraternal codes of honor, as seen through Harumi's eyes.

After botching his latest assignment, a third-ranked Japanese hit man becomes the target of another assassin.

After yakuza boss Kurata dissolves his own criminal empire, a rival kingpin offers a position to Kurata's top operative, Tetsuya "Phoenix Tetsu" Hondo. When the fiercely loyal Tetsu declines, Otsuka taps unstoppable Tatsuzo the "Viper", a ruthless gun-for-hire, to assassinate him. As the Viper trails his target through the countryside, the agile Phoenix Tetsu grows concerned that one of his former associates has betrayed him.

Shoichi Kokubun is a roughneck street musician, who has a brother that is determined to propel him into stardom. In attempt to catch the attention of a popular jazz band, his brother appeals to their manager who has the power to make him a star. In a graphic portrayal of love, betrayal and success, Shoichi brews up a storm with a 'rat-a-tat-tat' on the drums.

Akemi is a dragon tattooed leader of the Tachibana Yakuza clan. In a duel with a rival gang Akemi slashes the eyes of an opponent and a black cat appears, to lap the blood from the gushing wound. The cat along with the eye-victim go on to pursue Akemi’s gang in revenge, leaving a trail of dead Yakuza girls, their dragon tattoos skinned from their bodies.

This movie depicts the confrontation between a man entangled in a despicable trap and the shadow of murderous intent, and the efforts of a journalist chasing after the truth. Due to the passage of time since the film's release, some scenes may be marred by visual and audio distortions. We apologize for any inconvenience and appreciate your understanding.

A deep mist envelops the port city of Yokohama. The scent of crime is everywhere. As an executive member of a drug trafficking syndicate, Kano is pretty high up in the food chain, but "status" bears no value to him. All he cares for is Ayako, the boss' mistress. After one last job, they intend to run off together to Hong Kong, but their plans are hindered when an uninvited yakuza stirs up a vicious shootout. In the midst of it all, Ayako is kidnapped.

Emerging from a stint in prison, yakuza lieutenant Sumukawa discovers that his gang has disintegrated. An ambitious type, he quickly hooks up with another gang who promise him a prominent position if he helps them deal with a rival family. But bonds are made to be broken, and pledges of loyalty soon give way to competition, betrayal and — naturally — retaliation.

At the beginning of the Meiji era, three brothers of a samurai family each stand up to the times.

Two brothers seek revenge on the yakuza responsible for the death of their father.

A gang lord hires Kamimura, a hit man, to take out a rival boss who's gotten greedy.

No description available.

No description available.

1962 Japanese movie

Strife between competing lumber mills.

1962 Japanese movie

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.

Rivalry between two young gangster groups who seek to extend their influence.

1962 Japanese movie