Masaki Kobayashi

Nao (Ayano Nishikawa), wife of Ota (Ryota Matsushima) from the Kamome Victims Association, is abducted by the World Kamome Church. Tamura (Yoshiyuki Yamaguchi) storms the cult’s facility alone to rescue her, and Himuro (Yasukaze Motomiya) soon follows. Ordered by cult leader Takahara (Mizuki Nishikawa), armed followers attack, and despite fighting back, Himuro and Tamura are captured. When Himuro questions Takahara about the cult’s true goal, he receives a chilling, cryptic answer. Meanwhile, suspecting Deputy Police Commissioner Mikami (Yasuhiro Arai) is linked to the cult, investigator Sahara (Takayuki Kinba) takes a risky step by consulting Matsumiya (Gen Hongo).

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In this 1993 video interview, filmed for the Directors Guild of Japan at Tokyo’s Haiyuza Theatre, director Masaki Kobayashi talks to fellow filmmaker and longtime Kobayashi admirer Masahiro Shinoda (DOUBLE SUICIDE) about THE HUMAN CONDITION.

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Ryou Mizuhara is a normal high school student, living alone with his younger sister Akane. They were very happy together, at least until a mysterious girl crashes into their lives who introduces herself as Ryou's new fiancée.

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A new magistrate in the town of Horisoto—widely reputed to be the most lawless township in Japan, uses guile and his opponents' own misperceptions and prejudices to defeat his enemies and uproot corruption.

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One year after the Kidojis' eldest son Otohiko was arrested for his part in a terrorist kidnapping, which resulted in multiple deaths, all the other perpetrators' parents have either resigned from their professional positions or taken their own lives, Nobuyuki Kidoji remains adamant that he is not responsible for his son's actions.

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A look at the trial of Japanese militarists accused of war crimes; from the proceedings of the International Military Tribunal (May 1946–November 1948). It took two days to read the charges against the 100 alleged war criminals in the docket (only 28 top officials are actually in the small courtroom), and the final judgment took one week to read.

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An industrialist is diagnosed with terminal cancer. He is abroad in Europe at the time, and a glimpse of a Japanese woman in that setting causes him to imagine her as the personification of his impending fate. As his dialogue with his imagined mortality continues, he meets the living woman, the template for his fantasy, and together, they tour rural churches. Gradually, he comes to some kind of peace about the diagnosis. When he returns to Japan, he is met with a series of challenges that profoundly test the lessons he has learned.

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On a Tokyo dump’s shantytown edge, interwoven vignettes follow residents scraping by: a boy who “drives” an imaginary trolley, a homeless father and son designing a dream house, a young woman brutalized at home, drunks, schemers, and saints of small kindnesses. Kurosawa crafts a ragged mosaic of hardship, fantasy, and flickers of grace that keep people moving forward.

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A dying businessman intends to will ¥200 million to his three illegitimate children, but his associates scheme to take advantage of the situation.

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After the Japanese defeat to the Russians, Kaji leads the last remaining men through Manchuria. Intent on returning to his old life, he faces great odds in a variety of different harrowing circumstances as he and his men sneak behind enemy lines.

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Kaji, sent to the Japanese army labeled Red, witnesses cruelties in the army and revolts against the abusive treatment against a fellow recruit. He also sees his friend Shinjô defecting to the Russian border, and he ends in the front to fight a lost battle against the Russian tanks division.

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After handing in a report on the treatment of Chinese colonial labor, Kaji is offered the post of labour chief at a large mining operation in Manchuria, which also grants him exemption from military service. He accepts and moves with his newlywed wife Michiko, but when he tries to put his ideas of more humane treatment into practice, he finds himself at odds with scheming officials, cruel foremen, and the military police.

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In a mountain village, Heita, a translator's son, is a gifted boy but is shunned by the villagers. He can imitate birds' cry and befriends another boy who works in a brewery. Heita also finds solace in the village pastor Yasugi and his teacher Michiko, but they too have problems of their own.

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When the future of his construction company falls into danger, a controlling father pushes his children into unsatisfying marriages and careers in order to regain financial stability.

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Lost film, directed by Tomu Uchida. This film is a very funny comedy that makes fun of the moral code of the samurai Bushido, which has become obsolete and turned into an empty form during the period of feudalism.

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