長屋紳士録

Shuhei Hirayama is a widower with a 24-year-old daughter. Gradually, he comes to realize that she should not be obliged to look after him for the rest of his life, so he arranges a marriage for her.

In a distinctly contemporary Tokyo that looks backwards to the city’s disappearing past, Yoko is a writer investigating the life of a modernist composer of the 1930s. She is pregnant by a man she does not want to marry and has found a kindred spirit in a used bookstore owner who aids her research.

In the outskirts of Tokyo, a poor but close-knit group living on the fringes of society survives through shoplifting and odd jobs. When Osamu and his son take in a neglected young girl, their already fragile existence begins to unravel. As the family grows attached to her, buried secrets surface, forcing them to confront the true meaning of love, belonging, and what makes a family.

A woman, Tome, is born to a lower class family in Japan in 1918. The title refers to an insect, repeating its mistakes, as in an infinite circle. Imamura, with this metaphor, introduces the life of Tome, who keeps trying to change her poor life.

Two lost souls visiting Tokyo -- the young, neglected wife of a photographer and a washed-up movie star shooting a TV commercial -- find an odd solace and pensive freedom to be real in each other's company, away from their lives in America.

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

While combing through the belongings of his recently deceased aunt, Matsuko, nephew Sho pieces together the crucial events that sank Matsuko's life into a despairing tragedy.

In spring, a girl leaves the island of Hokkaido to attend university in Tokyo. Once there, she is asked to reveal why she wanted to go there in the first place.