The Adventures of Jirokichi: A thousand coins

Blind traveler Zatoichi is a master swordsman and a masseur with a fondness for gambling on dice games. When he arrives in a village torn apart by warring gangs, he sets out to protect the townspeople.

The Shinobi-no-Mono series was so successful that Daiei Studios dipped into the well one more time, making the best 60′s B&W ninja movie ever seen in the otherwise color-dominated year of 1970. Issei Mori directs Hiroki Matsukata as the reluctant leader of a small band of spies charged with kidnapping a noblewoman from a heavily ninja-proofed castle. The finality of the air slowly began to fill like smoke, and in all that had become dark the loyalty of the Ninja who dared to go shone like light as they entered a world shrouded in mystery. Things do not go as planned in what is possibly the darkest and most fatalistic of the already noir-ish 60′s fare. Both the decade and it’s distinctive style of shinobi cinema went out on a high note with Mission Iron Castle.

Takizawa Bakin, a popular Edo period author, begins to recount a story he is planning in front of his friend, the artist Katsushika Hokusai. The story is about eight warriors who, each carrying a jewel, gather together as if guided by fate and embark on a harsh journey to fight the curse of the Satomi family. Hokusai is drawn into the story that Bakin is telling, and visits Bakin on various occasions to hear the rest of the story, and a strange relationship between the two begins. The serialization becomes Bakin's life's work, with the idea of ​​"rewarding good and punishing evil in a world where evil is rampant," but after 28 years, as the story finally approaches its climax, Bakin begins to lose his sight. With the completion of the story in doubt, he receives an unexpected proposal from his daughter-in-law. Will the story ever be completed?

In Edo period Japan, a lone ronin lives in a village helping the farmers tend to their land. One day, a group of outlaw swordsmen enter the village.

Kakizaki Yuji’s period film is not like the jidaigeki films we are used to. While it deals with themes of seppuku, duty, and loyalty to one’s masters and the shogun, we see very little in terms of action. Instead, the film focuses on the inner thoughts and struggles of the protagonist—who is ordered to perform a ritual suicide—his wife, and their entire household, all leading up to the final moment.