The Story of Big 1: Sadaharu Oh

An opportunistic department store clerk gets involved with three women and attempts to manipulate them so he can move up the social ladder.

A freestyle biopic of Ikki Kita, the ultranationalist intellectual whose ideas inspired the failed military coup in 1936.

An old woman has died and her widower with dementia confesses to killing her. After this, the story goes back in time to show the events leading up to her death.

Experienced shipyard worker Shimazaki gets an offer of free lodging from his employer in the company seaside rest house if he agrees to see to its running. After moving in, Shimazaki finds out that this will also mean taking care of a flock of youngsters, and he soon becomes their none-too-successful warden. At work the boys are disciplined, as soon as they return to their dormitory however they turn into an unmanageable mob.

Yoshida’s first big-budget production and colour film is a haunting tale of unrequited love and postwar disillusion. The story of the fatal attraction between a spineless intellectual and a strong woman is conventional, but its enactment is radically new.

A spontaneous romance blooms between Kawamura, a professor touring Europe, and Naoko, a married woman living in Paris, scarred by the Nagasaki atomic bombings. The two protagonists travel around Europe trying to find themselves.

Yoshida grew close to Ozu Yasujiro during his time at Shochiku, where he was able to observe the legendary master at work. Although Yoshida and his generation outspokenly rejected the values of Ozu, Kurosawa and the older humanist filmmakers, over the years Yoshida found himself increasingly drawn back to Ozu’s films, fascinated by their unique rigor, formal language and delicate balance between comedy and tragedy. For Japanese television, Yoshida adapted his own text into a four part documentary, which he also condensed into the one hour version.

40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes. The results run the gamut from Zhang Yimou's convention-thwarting joke to David Lynch's bizarre miniature epic.

A married woman lets her lover take naked pictures of her. The photos end up in possession of a man who starts blackmailing the couple.

In an isolated mountain resort, a woman gets involved in a love triangle between herself, her volatile lover and her ex-boyfriend, for whom she had platonic feelings.