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The Tattered Wings (1955)
$25.00A young widow, made world weary by her abusive, neglectful husband, finds herself in a minor scandal when she’s seen with her intense, no-nonsense childhood sweetheart.
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She Was Like a Wild Chrysanthemum (1955)
$25.00Now an old man, Masao returns to his childhood home and begins to recall his upbringing in this abandoned sector of Japan.
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Fountainhead (1956)
$25.00A botanist woos the secretary of an industrialist whose company threatens the local water supply.
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The Thick-Walled Room (1956)
$25.00A group of rank-and-file Japanese soldiers are jailed for crimes against humanity, themselves victims of a nation refusing to bear its burdens as a whole.
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Tokyo Twilight (1957)
$25.00Two sisters find out the existence of their long-lost mother, but the younger cannot take the truth of being abandoned as a child.
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Danger Stalks Near (1957)
$25.00The plans of a trio of burglars are continually thwarted by the arrival of visitors to the house they plan to rob.
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Equinox Flower (1958)
$25.00Later in his career, Ozu started becoming increasingly sympathetic with the younger generation, a shift that was cemented in Equinox Flower, his gorgeously detailed first color film, about an old-fashioned father and his newfangled daughter.
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Good Morning (1959)
$25.00Two boys beg their parents for a television set, nagging them until all patience is lost. The parents order the boys to be quiet and the boys do exactly that–refusing to utter a word. The boys’ silence ultimately puts the whole neighborhood into turmoil.
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The Human Condition II: Road to Eternity (1959)
The Human Condition II: Road to Eternity (1959)
$25.00Kaji, having lost his exemption from military service by protecting Chinese prisoners from unjust punishment, has now been conscripted into the Japanese Kwantung Army. Despite his anti-militarism, Kaji excels in his training and tries to implement his ideals in his dealings with other soldiers in the face of the prevailing brutality. The film ends with the Soviet army’s victorious onslaught.
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Night and Fog in Japan (1960)
$25.00Nagisa Oshima’s most personal film is a reflection by the director on his own disillusionment with the revolutionary student movement of the 1950’s and the failure of political radicalism. Taking it’s title (as a reference or homage) from Alain Resnais’ pivotal 1956 documentary Nuit et Brouillard, the film has a group of former student revolutionaries who meet again years later at the wedding of one of their classmates. Old feelings, rivalaries and grudges gradually erupt to the surface as the one-time friends recall the various treacheries by which their cause was defeated. Cutting between times past and the present, and unfolding the action from each of his characters viewpoints, Oshima creates an abstract and yet engrossing study of passions past and principles eroded. —Yume Pictures
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Samurai from Nowhere (1964)
$25.00From “Ame Agaru” the same novel that gave birth to AFTER THE RAIN, comes one of the greatest samurai films of all time. Co-starring Nagato Isamu and Tanba Tetsuro as two wandering ronin who make their living by “Dojo Yaburi” (literally Martial Arts School Breaking) where they challenge and defeat the master of a dojo so they can extort money for not telling anyone what they did. Misawa Ihei (Nagato) is traveling with his wife who abhors the practice of sword fighting for prize money. The ever beautiful Iwashita Shima plays Tae, the daughter of the clan’s chief counselor who married the low-ranking Ihei to avoid becoming the clan lord’s mistress. Into the mix comes Oba Gunjuro, a mysterious ronin who will do anything for money. This leads to a fitting climax as the forces of hate and love converge while the couple attempt to break through the border!
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Samurai Spy (1965)
$25.00Years of warfare end in a Japan unified under the Tokugawa shogunate, and samurai spy Sasuke Sarutobi, tired of conflict, longs for peace. When a high-ranking spy named Tatewaki Koriyama defects from the shogun to a rival clan, however, the world of swordsmen is thrown into turmoil. After Sasuke is unwittingly drawn into the conflict, he tracks Tatewaki, while a mysterious, white-hooded figure seems to hunt them both. By tale’s end, no one is who they seemed to be, and the truth is far more personal than anyone suspected. Director Masahiro Shinoda’s Samurai Spy, filled with clan intrigue, ninja spies, and multiple double crosses, marks a bold stylistic departure from swordplay film convention.
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