Black Rain

A newly unemployed salaryman meets a particularly sexual woman.

In a small village in a valley everyone who reaches the age of 70 must leave the village and go to a certain mountain top to die. If anyone should refuse he/she would disgrace their family. Old Orin is 69. This winter it is her turn to go to the mountain. But first she must make sure that her eldest son Tatsuhei finds a wife.

A rumbunctious and ribald tale of a troupe of travelling actors who alternate highlights of kabuki theatre with strip shows.

Tokyo engineer Kariya arrives on a primitive tropical island, where he interacts with the Futori clan, to drill a well to power a sugar mill.

Famed filmmaker tracks down former Japanese soldiers in Malaysia.

Part 2 of Imamura's quest for Japanese soldiers who stayed behind after the war.

“In Search of Unreturned Soldiers was about former soldiers of the Japanese army who chose not to return to Japan after the war. I found several of them who had remained in Thailand. Two years later, I invited one of them to make his first return visit to Japan and documented it in Outlaw-Matsu Returns Home. During the filming, my subject Fujita asked me to buy him a cleaver so that he could kill his ‘vicious brother.’ I was shocked, and asked him to wait a day so that I could plan how to film the scene. By the next morning, to my relief, Fujita had calmed down and changed his mind about killing his brother. But I couldn’t have had a sharper insight into the ethical questions provoked by this kind of documentary filmmaking.” —Shôhei Imamura

Karayuki-san, the Making of a Prostitute is a 1975 Japanese film by director Shohei Imamura. It is a documentary on one of the Japanese "karayuki-san," who were women that were taken from their homes in Japan and used as prostitutes in the post-war period. Many of these women were told that they were doing this to support their families because of the extreme poverty that the war left much of Japan to live in. Imamura focuses on a particular such woman who was sent to Malaysia and never returned to Japan. Joan Mellen, in The Waves at Genji's Door, called this film, "Perhaps the most brilliant and feeling of Imamura's fine documentaries."

The film tells the story of four orphans living in an impoverished mining town. An adaptation of a best-selling book based on the diary of a ten-year-old zainichi (ethnic Korean Japanese) girl, it was one of the first films to deal with the subject of zainichi identity and struggles in Japan.

The film depicts carnivalesque atmosphere summed up by the cry "Ee ja nai ka" ("Why not?") in Japan in 1867 and 1868 in the days leading to the Meiji Restoration. It examines the effects of the political and social upheaval of the time, and culminates in a revelrous march on the Kokyo, which turns into a massacre. Characteristically, Imamura focuses not on the leaders of the country, but on characters in the lower classes and on the fringes of society.