Makoto Matsuzaki

A strikingly beautiful young woman is trained from birth to be a deadly instrument of revenge against the swindlers who destroyed her family.

A young woman takes up her new job as the servant of a noblewoman and soon discovers that underneath her facade of luxury lies great unhappiness.

Ex-conman Junpei plots revenge on a corrupt corporation by leading a team of swindlers posing as politicians. A slick crime comedy of cons and payback.

​The story follows the chance meeting between Senkichi, a wandering gambler on the run, and Orin, a blind musician who offers him kindness and shelter. As their lives become intertwined, they attempt to find a sense of peace and domesticity while caught in the crossfire of the violent Bakumatsu revolution.

When a broadcasting company takes away its financial support from a symphony orchestra, some of the members refuse to admit defeat. The first violinist returns to his home and manages to get the orchestra back together for a grandiose performance, saved at the last minute by their original conductor -- and boding well for the future of the die-hard musicians.

A not-so-young "Young Guy" (Kayama) returns in this reunion feature, which takes Yuichi and Ishiyama to New York, where the former runs in the New York Marathon and romances TV producer Minagawa. A delightful throwback to Toho's '60s style filmmaking.

A Fond Face from the Past is also set in a rural community, specifically a village outside Kameoka, near Kyoto. In some ways this short, thirty-six-minute film is Naruse's most moving negotiation of the militarist restrictions of the time, perhaps because it is also his most direct engagement with the culture of war. When a newsreel comes to Kameoka featuring a local man named Yoichi, it causes some excitement in the community and, of course, in Yoichi's own family. First of all his mother makes the newsreel (Nippon News, no. 14), which begins with the same marching music that opens his own film, followed by a curious baby judging context in Los Angeles featuring two hundred Japanese babies. Released in January 1941, almost a year before the pacific war begins, this “found footage” is indicative of Japanese imperialist ambitions beyond Asia long before Pearl Harbor.