Opening with a shot of an x-ray, showing the main character's stomach, 'Ikiru' tells the tale of a dedicated, downtrodden civil servant who, diagnosed with a fatal cancer, learns to change his dull, unfulfilled existence, and suddenly discovers a zest for life. Plunging first into self-pity, then a bout of hedonistic pleasure-seeking on the frenetic streets of post-war Tokyo, Watanable (Takashi Shimura) - the film's hero - finally finds satisfaction through building a children's playground.
In a magnificent performance. Tatsuya Nakadai stars as Hanshiro Tsugumo. a masterless down-and-out samurai who enters the manor of Lord lyi. requesting to commit ritual suicide on his property. Suspected of simply fishing for charity, Hanshiro is told the gruesome tale of the last samurai who made the same request - but Hanshiro will not be moved...
Akira Kurosawa's acclaimed study of power, revenge and retribution is set against the magnificent backdrop of feudal warfare in sixteenth century Japan. Transposing the events of Shakespeare's King Lear to the blood-thirsty 'Period of Warring States', 'Ran' tells the story of a bitter power struggle within the family of Warlord Hidetora Ichimonji (Tatsuya Nakadai). After fifty years of ruthless slaughter Hidetora divides his kingdom among his sons, seeking peaceful retirement. However, as his life descends into chaos, he is unable to escape the corruption within his family and the torment within his soul.
The enigmatic samurai in Yojimbo is played by the great Toshiro Mifune as a scruffy, scratching, itinerant warrior who wanders into a strange town and right into the middle of two warring clans. Showing his skills with the samurai sword within minutes of his arrival, he soon has the town's rival factions competing for his services.Kurosawa's genius for storytelling combines with thrilling swordplay, a healthy dose of black humour, a soundtrack every bit as atmospheric and amusing as Ennio Morricone's, and a towering performance from Mifune, to make Yojimbo an irresistible widescreen action movie.
Red Beard, the last and most ambitious of Kurosawa's collaborations with Toshiro Mifune, marks the end of one of the most remarkable actor-director relationships in the history of cinema. Toshiro Mifune plays a commanding but humane doctor in a rural clinic in late 19th-century Japan. An idle and socially ambitious intern (Yuzo Kayama) arrives at the clinic and discovers the meaning of responsibility, first to oneself and then to others. This intimate epic - and offbeat social drama - boldly mixes the styles of soap opera and the action movie, and rewards the viewer with a detailed reconstruction of a feudal era, a warmly humanitarian message and a powerhouse performance by Mifune.
When teacher Junpei Niki misses his last bus home after a day out collecting insects on a remote stretch of coast, he is invited by a local villager to take shelter in a young widow's ramshackle hut. Ignoring the fact that her home is at the bottom of a sandpit accessible only by rope ladder, he accepts this hospitality without realising he is the victim of a cruel trick. Trapped, he is forced into an uneasy life with this woman, sharing with her the Sisyphean task of shoveling the sand that threatens to engulf them.
The widowed Keiko (Hideko Takamine) manages a hostess bar in Tokyo's Ginza district. She remains faithful to the memory of her husband and supports her mother, brother and his son. The smiling mask she wears allows her to make a living, but the pressure to sell herself is unrelenting. Her business is failing and she must decide whether to raise the money to buy her own bar or marry one of her admiring affluent patrons. A superb, heart-rending film.
The movie tells the hauntingly tragic story of a forbidden love affair between a merchant's wife, Osan (Kyôko Kagawa), and her husband's employee, Mohei (Kazuo Hasegawa), in an era when the punishment for adultery was crucifixion. When a series of innocent events lead to the false accusation of an affair between Osan and Mohei, the accused pair are forced to flee an almost certain death sentence. On the run, the outlaw couple grow closer together, drawn inexorably towards the romantic crime of which they are accused.
Following Woman of the Dunes (Suna no onna) in 1964, Hiroshi Teshigahara continued his collaboration with avant-garde novelist/playwright Kobo Abe and experimental composer Toru Takemitsu for 'The Face of Another' (Tanin no kao). Starring Tatsuya Nakadai (Yojimbo, Kagemusha) as a man "buried alive behind eyes without a face", the film addresses the illusive nature of identity and the agony of its absence. A man (Tatsuya Nakadai) facially disfigured in a laboratory fire persuades his doctor to fashion him a lifelike mask modeled on a complete stranger - totally different from his own face. Shortly after the mask is made, he successfully seduces his own wife (Machiko Kyo) but becomes angry at her falling for a handsome stranger. Worrying about his looks, and the way the mask seems to influence his identity, he begins to question everything.
Former Police officer Nishi (Takeshi Kitano) feels responsible for the shattered lives of his loved ones. His partner Horibe (Ren Ôsugi) has been crippled in a disastrous stakeout, a colleague is shot dead by the same villain, and his own wife has a terminal illness. In debt to a yakuza loanshark, Nishi conceives a bank robbery to provide for his partner, help the dead cop's widow, and take one last holiday throughout Japan with his wife and share a final taste of happiness...
Filmed on the virtually deserved Setonaikai archipelago in south-west Japan. The Naked Island tells the story of a small family unit and their subsistence as the only inhabitants of an arid, sun-baked island. Daily chores, captured as a series of cyclical events, result in a hypnotizing, moving, and beautiful film harkening back to the silent era.
Reiko Morita (Hideko Takamine) is a widow who loses her husband in war. Bombing destroys his family's shop and the widow stays to rebuild it as the rest of the family flee and runs it for 18 years out of love for her dead husband and his mother. The film starts after 18 years when a new supermarket threatens to put them out of business. The sisters conspire to turn the shop into a supermarket and get rid of their brother's widow. Meanwhile, the surviving younger brother 25-year-old Koji Morita (Yuzo Kayama) loafs around, losing jobs, getting drunk, laid and gambling. In the crisis, he confesses to his shocked sister-in-law, 12 years older, that he has always loved her and can't deal with it. She cares for him, but in the motherly, elder sister way. She rejects him and decides to return home to her family, threatening suicide if he stops her. This suits the sisters, but he follows her onto the long train ride. On the way, she softens and they disembark for a country inn, where they can talk. He resumes his approaches, but at the last minute, she can't face intimacy. He storms out and gets drunk. He calls Reiko up and says he is going back home. In the morning, Reiko looks out the window and sees him being carried into the village on a stretcher, his face covered. Someone says he fell from a cliff. Reiko runs after him but falters. The last shot is of her face, blank, as she realizes what happened.
A feverish collision of avant-garde aesthetics and grindhouse shocks 'Funeral Parade of Roses' takes us on an electrifying journey into the nether-regions of the late-'60's Tokyo underworld. In Matsumoto's controversial debut feature, seemingly nothing is taboo: neither the incorporation of visual flourishes straight from the worlds of contemporary graphic-design, painting, comic-books, and animation; nor the unflinching depiction of nudity, sex, drug-use, and public-toilets. But of all the "transgressions" here on display, perhaps one in particular stands out the most: the film's groundbreaking and unapologetic portrayal of Japanese gay subculture. Cross-dressing club-kid Eddie (Pîtâ) vies with a rival drag-queen (Osamu Ogasawara) for the favours of drug-dealing cabaret-manager Gonda Passions escalate and blood begins to flow - before all tensions are released in a jolting climax.
When her young son Minato (Soya Kurokawa) starts to behave strangely, single mother Saori (Sakura Andô) knows that there is something wrong. Discovering that one of his teachers might be responsible, she storms into the school demanding answers. But as the story unfolds through the eyes of mother, teacher and child, shocking truths begin to emerge.
We use cookies to help you navigate our website and to keep track of our promotional efforts. Some cookies are necessary for the site to operate normally while others are optional. To find out what cookies we are using please visit Cookies Policy.