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.
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.
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...
"After Life" revolves around an intriguing premise. At a half way station between heaven and earth, guides greet the newly dead. Over the next three days, they will help them sift through their memories to find the one defining moment of their lives - an old woman remembers dancing for her older brother's friends as a child; a man recollects the breeze felt on a tram ride the day before summer vacation; a young girl wants to ride the Splash Mountain at Disneyland. The chosen moment will be recreated on film and relieved for eternity.
Ryusuke Hamaguchi's 'Drive My Car' is a masterful, moving and multi-award winning film based on a short story by Haruki Murakami. When the wife of Kafuku (Hidetoshi Nishijima), a stage actor and director, suddenly passes away, she leaves behind a secret. Two years later, Kafuku meets Misaki (Toko Miura), a reserved young woman assigned to be his chauffeur on a work trip to Hiroshima. As they spend time together, Kafuku confronts the mystery of his wife that quietly haunts him.
Takumi (Hitoshi Omika) and his daughter Hana (Ryô Nishikawa) live in Mizubiki Village, close to Tokyo. Like generations before them, they live a modest life according to the cycles and order of nature. One day, the village inhabitants become aware of a plan to build a glamping site near Takumi's house; offering city residents a comfortable 'escape' to nature. When two company representatives from Tokyo arrive in the village to hold a meeting, it becomes clear that the project will have a negative impact on the local water supply, causing unrest. The agency's mismatched intentions endanger both the ecological balance of the nature plateau and their way of life, with an aftermath that affects Takumi's life deeply.
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.
Based on the Ed McBain novel, 'High and Low' is a gripping police thriller starring Toshiro Mifune. Wealthy industrialist Kingo Gondo (Mifune) faces an agonising choice when a ruthless kidnapper, aiming to snatch his young son, takes the chauffeur's boy by mistake - but still demands the ransom, leaving Gondo facing ruin if he pays up. An anatomy of the inequalities in modern Japanese society, High and Low is a complex film noir, where the intense police hunt for the kidnapper is accompanied by penetrating insight into the kidnappers state of mind. Kurosawa's virtuoso direction provides no easy answers, and in short, intense sequences, he portrays the businessman, the police and the criminal as equally brutal but nonetheless human.
In 16th century Japan, amidst the pandemonium of civil war, potter Genjuro (Mori Masayuki) and samurai-aspirant Tobei (Ozawa Sakae) set out with their wives in search of wealth and military glory, respectively. Two parallel tales ensue when the men are lured from their wives: Genjuro by the ghostly charm of Lady Wakasa (Kyo Machiko); Tobei by the dream of military glory.
When an idealistic governor disobeys the reigning feudal lord, he is cast into exile, his wife and children left to fend for themselves and eventually wrenched apart by vicious slave traders. Under Kenji Mizoguchi's dazzling direction, this classic Japanese story became one of cinema's greatest masterpieces, a monumental, empathetic expression of human resilience in the face of evil.
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.
Winner of the 1952 Venice Film Festival silver lion award, Kenji Mizoguchi's tragic tale, set in the 17th Century, of a young noblewoman's fall from grace established his reputation as one of Japan's greatest directors. Kinuyo Tanaka stars as O-Haru, a beautiful courtesan who surrenders to her passion for a commoner, played by Toshiro Mifune. As punishment, she and her parents are banished into exile where O-Haru desperately attempts to escape her past. A compelling and powerful critique of feudal Japan as seen through the eyes of a woman, 'The Life of O-Haru' portrays the human dramas and historical settings with unflinching realism and atmospheric detail, demonstrating Mizoguchi's complete mastery of the medium.
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.
The tale of an eccentric band of culinary ronin who guide the widow of a noodle-shop owner on her quest for the perfect recipe, this rapturous "ramen western" by Japanese director Juzo Itami is an entertaining, genre bending adventure underpinned by a deft satire of the way social conventions distort the most natural of human urges - our appetites. Interspersing the efforts of Tampopo (Nobuko Miyamoto) and friends to make her cafe a success with the erotic exploits of a gastronome gangster and glimpses of food culture both high and low, the sweet, sexy, and surreal 'Tampopo' is a lavishly inclusive paean to the sensual joys of nourishment, and one of the most mouthwatering examples of food on film ever made.
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