Akiyoshi Kitaura

Osamu, récemment sorti de maison de correction, fait la rencontre de Yuri, danseuse dans un club de jazz. Osamu y retrouve par hasard Sachio, un jeune homo lui aussi passé par la maison de correction, qui va lui remettre un pistolet. Ils vont commettre quelques vols, jusqu’à ce que les choses tournent mal.

Mamoru Hirayama, the sales manager of Clover Shoji, a women's underwear manufacturer, was selected by President Usui to be the manager of the foreign affairs section newly established in the sales department. Masaaki Sakata, Yasushi Inoda, Osamu Yamabe, and Jiro Oi were assigned to this foreign affairs section. Hirayama, a former soldier, is suddenly enthusiastic when the company orders him to join the Self-Defense Forces. One day, in the library where the records of the former army are displayed, Hirayama recalls his memories of that time. It turned out that the bundle of bills that the captain had made a mess of was packed in a box and buried somewhere.

UFOs appear on Earth, and people who actually see them suddenly find that their blood has turned blue. Soon panic and hysteria result in the new "blue-bloods" being persecuted by the rest of mankind, and eventually certain all-too-familiar measures begin to be taken against them.

In feudal Japan, women are vulnerable, in need of protection, and capable of deception. Jokichi of Mikogami, a drifter, has not yet fully revenged the death of his wife and son. He searches for Kunisada Chuji, who in turn has hired the knife-throwing Windmill Kobunji to kill him. Kobunji and Jokichi meet in the winter, near Sasago Pass, when both have rescued women: Jokichi has saved the lute-playing Oyae whose clan and whose lover want her dead; Kobunji has rescued Oharu, a well-born woman married to an innkeeper. Is this rescue a whim or something deeper? And why does Jokichi become the consumptive Kobunji's protector? What ultimately will Jokichi do about Oyae?

Adapted from the Seicho Matsumoto story "Tazutazushi". Ryohei Suzuki, a manager at a travel company, is married to his superior's daughter, but tires of their authority over his life. A chance encounter with Yukiko Hirai one rainy night brings a new romance into Ryohei's life, and he and Yukiko fall deeply in love. Yukiko, however, reveals that she has a violent husband in prison - with only a week left until his release. Ryohei, desperate to maintain his social standing, brings Yukiko to the mountains in Nagano and sets in motion an unthinkable, tragic chain of events.

Suspense film about a beautiful photographer who becomes involved in a murder case.

Meet Saotome Ai, a high school girl from a well-to-do family. When she was a small child, she was in an accident that resulted in a young boy being permanently scarred between his eyes while she emerged unscathed. The young boy saved her life and although she never knew who he was, she never forgot him. Meet Taiga Makoto, a young man with a scar between his eyes who has had a rough life, but has emerged as a rough, tough bully - a thug and a brawler and about as rude as they come - all of which he blames on the incident that gave him his scar. When Ai and Makoto run into each other again, Ai feels guilt for what Makoto has become and decides to intervene and rehabilitate him. But is he a diamond in the rough, or just a bully?

Five fellows are taken by the police for bank hold-ups.

Récit somptueux de la véritable histoire du voyage final et de la destruction et du naufrage ultimes du cuirassé Yamato, le plus grand navire amiral du Japon durant la Seconde Guerre mondiale.

Let's Go, Grandma! plays like an exuberant, goofy update to Yasujiro Ozu's Tokyo Story. Kinuyo Tanaka plays the titular Grandma, who, after selling her Hokkaido property, is apparently flush with cash but newly homeless. Her grown children take turns hosting her, making extravagant performances of filial devotion with an eye to potential profit. Making use of a catalog of wacky visual effects, bracketed by gratuitous ham-fisted fight scenes, and costarring pop singer Hideki Saijo, the film is balanced by Tanaka's nuanced performance, which delivers a denunciation of hypocrisy and greed.