Mineko Yorozuyo

When his mother's untimely death quickly follows his father's, a doctor begins to believe a killer may be targeting him and his amnesiac wife.

Jack Elliot, a one-time MVP for the New York Yankees is now on the down side of his baseball career. With a falling batting average, does he have one good year left and can the manager of the Chunichi Dragons, a Japanese Central baseball league find it in him?

A TV writer and a director stranded in a rural town witness the young villagers’ tangled romances. Despite parental feuds and arranged marriages, true couples find their way together. The writer grows fond of the town before returning to Tokyo.

This movie is based on an immortal literary work "The Snow Country," a story about a life of geisha Komako who lives in a region with heavy snowfalls.

No plot available for this movie.

Shortly after the Meiji Restoration, young people devoted to the teachings of Saigo Takamori trained day and night at Seiyun Juku in Kagoshima, Kyushu. Shuntaro Amano (Yukio Hashi) entered the school after going through numerous trials and tribulations, and quickly became known for his outstanding talent. Some time after Shuntaro's admission to school, the daughter of director Shiho (Eriko Sanjo) returns from a trip to Tokyo. Shiho is attracted to the intelligent and caring Shuntaro, and soon they fall in love with each other. However, their feelings for each other are futile, and soon Shiho and Shuntaro find themselves in the vortex of time...

1962 Japanese movie

1962 Japanese movie

Considered one of the finest late Naruses and a model of film biography, A Wanderer’s Notebook features remarkable performances by Hideko Takamine – Phillip Lopate calls it “probably her greatest performance” – and Kinuyo Tanaka as mother and daughter living from hand to mouth in Twenties Tokyo. Based on the life and career of Fumiko Hayashi, the novelist whose work Naruse adapted to the screen several times, A Wanderer’s Notebook traces her bitter struggle for literary recognition in the first half of the twentieth century – her affairs with feckless men, the jobs she took to survive (peddler, waitress, bar maid), and her arduous, often humiliating attempts to get published in a male-dominated culture.

Satoko is a mistress by trade or fate: when her master, the silkscreen artist of the Kohoan Temple in Kyoto, dies, she is given to the temple's lascivious head priest Kikuchi. She is drawn to a melancholy young acolyte, Jinen, who has observed the profligacy of his cruel master and Satoko's utter dependence on the man. Jinen is both fascinated and disturbed by Satoko's interest in him; he is similarly caught between loathing of Kikuchi and of the dark circumstances of his birth and his own moral weakness. The story unfolds in a dreamlike manner—a flashback inspired by a now-infamous image on a silkscreen in the souvenir shop at the so-called Temple of the Wild Geese.