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.
Shuhei Hirayama is a widower with a 24-year-old daughter. Gradually, he comes to realize that she should not be obliged to look after him for the rest of his life, so he arranges a marriage for her.
The neglected common-law wife of a Japanese librarian is repeatedly harassed by a young man with a heart condition who seduces her with the prospect of a better life.
Ryota is an unpopular writer although he won a literary award 15 years ago. Now, Ryota works as a private detective. He is divorced from his ex-wife Kyoko and he has an 11-year-old son Shingo. His mother Yoshiko lives alone at her apartment. One day, Ryota, his ex-wife Kyoko, and son Shingo gather at Yoshiko's apartment. A typhoon passes and the family must stay there all night long.
Depicts the life of a family in a remote Japanese timber village. Family head Tahara Kozo lives with his mother Sachiko, wife Yasuyo, nephew Eisuke and young daughter Michiru. Economic recession and failed development plans cause tragedy in the family.
An errant salaryman's son gets lost until a man from the Tokyo tenements brings him to vendor Tane, who's reluctant to let the kid board.
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.
A 28-year-old single woman is pressured to marry.
Subu makes pornographic films. He sees nothing wrong with it. They are an aid to a repressed society, and he uses the money to support his landlady, Haru, and her family. From time to time, Haru shares her bed with Subu, though she believes her dead husband, reincarnated as a carp, disapproves. Director Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend’s obsession. Imamura’s comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time.
An elderly couple journey to Tokyo to visit their grown children, only to find them preoccupied and self-involved.
After being diagnosed with a terminal illness, Futaba resolves to spend her remaining time reuniting her broken family, reopening the long-closed bathhouse, and helping her shy daughter Azumi learn to stand on her own.
In the outskirts of Tokyo, a poor but close-knit group living on the fringes of society survives through shoplifting and odd jobs. When Osamu and his son take in a neglected young girl, their already fragile existence begins to unravel. As the family grows attached to her, buried secrets surface, forcing them to confront the true meaning of love, belonging, and what makes a family.
Akira works as a lawyer. One day, he meets with his former client Rie, who asks Akira to perform a background check on her late husband Daisuke.
Two lost souls visiting Tokyo -- the young, neglected wife of a photographer and a washed-up movie star shooting a TV commercial -- find an odd solace and pensive freedom to be real in each other's company, away from their lives in America.
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
Charles, an attorney, and Helen, his devoted wife, seem to have everything – money, a beautiful mansion – the American Dream. However, as Helen prepares to celebrate their 18th wedding anniversary, her life takes an unexpected twist when she comes home to find her clothes packed up in a U-Haul van parked in the driveway. Charles is divorcing her and kicks her out. Helen moves in with her grandmother Madea, an old woman who doesn't take any lip from anyone. Madea helps Helen through these tough times by showing her what is really important in life. Helen is forced to rediscover love, life, and religion in her pursuit for happiness.
Four women in their thirties reevaluate their relationships, both shared and private, after a startling revelation concerning one's marriage forces each of them to ask one of life's biggest questions: "Am I who I want to be?"
A spell of time in the life of a family in rural Tochigi prefecture. Yoshiko is not an ordinary housewife, instead working on an animated film project. Uncle Ayano, a successful music producer, is looking to get his head together after living in Tokyo. Meanwhile, Sachiko is concerned with why she seems to be followed by a giant version of herself. As the lazy days pass by, each member of the family is followed in a series of episodic vignettes.
Three middle-aged wealthy couples take vacations together in Spring, Summer, Autumn and Winter. Along the way we are treated to mid-life, marital, parental and other crises.
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