Masahiro Kinoshita

Wada Kōji is a chivalrous young man who leads a group of youths that take on a yakuza boss.

A celebrity, dissatisfied with his personal and professional lives, impulsively leaves fast-paced Tokyo to deliver a much-needed jeep to a remote village. When his controlling manager, the woman he loves, follows, the two must reconcile while dodging reporters.

A boxing melodrama. Two friends become boxers and begin training for the championship. These two boys eventually face each other in the ring.

Goro had grown up in the yakuza world. As an active member of the Mizuhara family crime syndicate, he expressed his loyalty by always putting himself in the forefront of every battle. Violence never bothered him. However, after being sentenced to three years in prison for stabbing a rival gang’s hit man, he becomes disenchanted with the Yakuza life style. Goro is determined to start anew, but karma catches up. His two closest friends are murdered by his ex-boss. He is left with two options: to kill or be killed.

A rookie newspaper journalist, Takema Sakaki, has a strong sense of justice. In the Diet Building he gets acquainted with a library worker, Reiko Nakafuji. Reiko's father was a member of the Diet who was assassinated six years ago. Through Reiko, Takema joins Tsūkai-kai, a group of young people who respect her late father's political ideas. With the assistance of Tsukai-kai, Takema eventually uncovers the political scandal related to postwar compensation which led to the murder of Reiko's father.

Based on the loosely autobiographical novel of the same name by Toko Kon. Ken Yamanouchi stars as Togo Konno, the titular bastard.

Hanayome wa Jūgo-sai, directed by Mio Ezaki and distributed by Nikkatsu, stars Masako Izumi and Ken Yamauchi. The high-key pink background and casual photographic portrait embody Nikkatsu’s 1960s youth-film aesthetic. Clean, hopeful, and pop-oriented. The large white title, handwritten for a softer impression, injects playful energy that contrasts with the strict vertical text blocks. As Japan’s youth culture blossomed after the 1964 Tokyo Olympics, posters like this captured the spirit of romance and rebellion marketed to teenage audiences. The vivid color palette and carefree composition signal a stylistic shift from postwar black-and-white melodrama to the vibrant optimism of modern Technicolor cinema.

Akio Tsukaro, dreaming of working for a beauty school's flag shop one day, stayed at Bunta Tadokoro without being involved in salon art, even though he graduated from beauty school. One day, Akio saw Michiko, a beautiful girl raining in Ginza. Since then, Akio has become unforgettable with the mascot that Michiko has taken away...