Lightning

War widow Reiko rebuilds and runs the grocery shop in the house of her husband's family. Many years later, their business is threatened by a newly built supermarket and Reiko's in-laws plan to convert their small shop into a supermarket, to her detriment.

Silent comedic short by Mikio Naruse

An Invention laboratory is working on the creation of a performance 'bomb' in the shape of a rocket that could be delivered to the front in order to entertain and amuse the national troops. Inside this rocket would be tiny performers. Once launched from the laboratory and landed amidst the Japanese troops the soldiers could enjoy the performers. The laboratory succeeds and the rocket is built. It bears the insignia, 'until the victory days.' The Japanese government began a program of shooting and disseminating propaganda and entertainment movies for its troops during World War II. Only 15 minutes of the film survives.

Keiko, whom everyone calls Mama, narrates her story: she's a hostess on the Ginza, 30, a widow. She describes life's vicious cycle: acting cheerful around drunks, dressing and living well to convey confidence, needing money for these expenses and for her demanding mother and brother, and knowing she's growing older.

A man is involved in a fatal car accident, and though he is blameless, his company transfers him to a remote branch in a small town. Before he leaves, he gives the man's widow a large sum of money that she uses to move back to her hometown.

A married Japanese forester during WWII is sent to Indochina to manage forests. He meets a young Japanese typist and promises to leave his wife. He doesn't and after the war, she turns up and the affair resumes.

A war widow with a young boy manages a farm with her bossy mother-in-law. When a reporter comes to interview her, the two begin an affair. He turns out to be married and won't leave his wife. Her older brother tries to marry off his children and hang on to/ extend his farm through an advantageous marriage in the face of threatened land confiscation and the desire of his children to get comfortable urban jobs instead of the backbreaking work in the paddy fields under parental control.

In post-WWII Osaka, a middle-aged woman is forced to examine her dreary life and marriage when her husband's young and flirtatious cousin arrives for a brief stay to escape an arranged marriage.

Sanae is left a widow after her prestigious husband dies, but holds the proceeds of a million yen insurance policy. Being childless, her former in-laws have no objection to her return to her own family.

What is the life of a Geisha like once her beauty has faded and she has retired? Kin has saved, and become a wealthy money-lender, spending her days coldly collecting debts. Even her best friends, fellow Geisha Tomi, Nobu, and Tamae, are now indebted to her. For all of them, the glamour of their young lives has passed; Tomi and Tamae have disappointing children. Kin has two former lovers who still pursue her; one she wants to see, and the other she doesn't. But even the one she remembers fondly, when he shows up, proves less than satisfactory.

Otsuta is running the geisha house Tsuta in Tokyo. Her business is heavily in debt. Her daughter Katsuyo doesn't see any future in her mother's trade in the late days of geisha. But Otsuta will not give up. This film portrays the day time life of geisha when not entertaining customers.

Ten years into a marriage, the wife is disappointed by the husband's lack of financial success, meaning she has to work and can't treat herself and the husband finds the wife slovenly and mean-spirited: she neither cooks not cleans particularly well and is generally disagreeable. In turn, he alternately ignores her and treats her as a servant. Neither is particularly happy, not helped by their unsatisfactory lodgers. The husband is easily seduced by an ex-colleague, a widow with a small child who needs some security, and considers leaving his wife.

Based on the life and career of novelist Fumiko Hayashi, she bitterly struggles for literary recognition in the first half of the 20th-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.

A woman remembers her own marriage when dealing with the love life of her son.

An aging geisha, whose angry teenage son is ashamed of her profession, works alongside a young geisha, resentful of her family for forcing her into a life of ignominy.

The story is about the social problems faced by Japan's indigenous Ainu, mostly centered on the reactions of the characters to their oppressed state.