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Festival programmers, enterprising DVD labels and, yes, cultural institutions have all played their part in importing and making available for western viewers a subjective selection of the best or most marketable Japanese cinema at any one point in its development. That same festival then devotedly gave an annual slot to Kenji Mizoguchi for each of the next five years, ensuring he was the next Japanese director to be thrust on to the world stage. But, like the man whose name usually completes this triumvirate of Japanese masters, Yasujiro Ozu, Mizoguchi had been making films since the s, working within genres, a studio system and a cultural tradition that would all take a huge amount of excavation for westerners to get any real handle on. Meanwhile, our sanctification of this trio meant that other filmmakers who were equally important to the times, and to the aesthetic development of Japanese cinema, were left in the half light. This way, we take the rough vintages with the smooth, giving a cumulative panorama of the trends, genres, stars and directors who mattered over the last century. This approach brings drawbacks of its own, of course. In his recent history What Is Japanese Cinema? Our interest here, alongside a bit of fun, is to show just how fertile that soil has proven to be. All the more reason to be grateful, then, for this surviving classic of the chanbara action-oriented period film , the negative of which was preserved by its star Tsumasaburo Bando, who produced film for his own independent company. Bando gives a haunting performance as the honest samurai adrift in a corrupt world, and the film rises to a stylishly choreographed action climax. In , benshi silent-film narrator Shunsui Matsuda devised a brilliant spoken commentary to accompany the film, a version of which is still performed live by his celebrated pupil, Midori Sawato. Once heard, never forgotten. Probably the most famous of all surviving Japanese films of the s, A Page of Madness resulted from the unique collaboration between former onnagata male actor playing female roles star Teinosuke Kinugasa as director, and Yasunari Kawabata, the prominent novelist of Shinkankakuha the New Perceptions School , as writer. Set in a rural asylum, its psychologically poignant story includes vivid depictions of insanity and the madly rhythmic body. By then, it had been unseen for decades and was believed to be lost, like the vast majority of Japanese silent films. The rediscovery of a condensed print in allowed a new generation of viewers to gain at least a partial appreciation of the qualities of this renowned film. Challenging the convention of the jidaigeki period film, the second avant-garde release by the director of A Page of Madness, Teinosuke Kinugasa, abandons sword fighting in favour of bringing a complex psychological drama into the genre. The film is believed to the first Japanese feature to be screened in Europe, brought by Kinugasa himself, to high acclaim in Berlin and Paris. The earliest surviving film by one of the major masters of Japanese cinema, Yasujiro Ozu, Days of Youth is an outstandingly creative intersection of various styles and genres that had emerged in Hollywood, Europe and Japan by the late s. Perhaps it was the relative smallness of the studio, Teikoku Kinema Engei, that allowed such free reign for this ambitious director to boldly tackle themes of oppression and class. It struck a nerve with the public, causing riots and becoming the most commercially successful Japanese film of the silent era. Gosho, a distinguished filmmaker neglected in the west, films the slapstick comedy with wit and lightness of touch, creating a convincing portrait of a traditional Japanese marriage threatened by the temptations of modernity. All these elements are much in evidence in his electrifying masterpiece of Japanese silent cinema set in the cosmopolitan port city of Yokohama, featuring two mixed-race Japanese schoolgirls, Sunako and Dora, whose friendship is put under strain by the appearance of a motorcycle-riding charmer named Henry. Anyone who loves Ozu should also love Yasujiro Shimazu, who pioneered the Shochiku tradition of understated domestic drama of which Ozu was the most distinguished exponent. His directing career began in and provided many classics up until his sublime final film, Scattered Clouds, in He already had more than 20 films to his name by most now lost , when he turned to talkies. An early peak, Wife! Be like a Rose! The first Japanese film to see a theatrical release in the US , Wife! Yoko Umemura plays her conservative sister, but neither rebellion nor conformity offers much hope. Mizoguchi perfected his early style, reliant on long shot and long take, with an often static camera, and delivered his social analysis with concision, force, rigour and scalpel-like precision. Of the 22 features Sadao Yamanaka directed between and only three remain. Humanity and Paper Balloons was his final film, a downbeat tale of suicide and disgraced ronin that spoke as much to its contemporary climate the film was released domestically following a period of intense political violence as it did to the feudal misery of its 18th-century Tokugawa-era setting. Considering the time it was made, the rarely seen Fallen Blossoms is astonishingly bold in both style and content. The drama unfolds as if in real time over the course of a single evening through a succession of unique shots in which the camera positioning remains inconspicuous yet is never once repeated. The result is a rigorous articulation of a living and working space in which, beyond the sounds of battle raging outside, any male presence is conspicuous by its absence. One evocative tracking shot following the lovers as they walk home at dawn is one for the ages. Constrained by the draconian Film Law, which imposed restrictions on content and expression, Japanese cinema faced profound ideological challenges in the early s. Seeing only poetry in the situation, he begins to speculate on what the woman who dropped it might be like, whereupon the lady in question Kinuyo Tanaka returns to the spa from Tokyo in contrition. Released in the week of the anniversary of Pearl Harbour and given a human hook in its narrative involving the training of two brothers, its dramatic reconstruction of the aerial attack using model work by Eiji Tsuburaya, the special effects wizard behind Godzilla , was considered so convincing that the US occupation authorities reputedly assumed the footage was genuine and seized all prints of the film at the end of the war. This tender account of a humble rickshaw man who falls in love with a young widow is one of the finest and most moving films produced during the war years. A renowned director in pre-war days, Mansaku Itami father of the late 20th-century satirist Juzo Itami was too ill to helm this project, but nevertheless furnished it with a superb script that gave full expression to his liberal principles. Indeed, it was cut by the militarist censors, who disapproved of its unabashed humanism. Director Hiroshi Inagaki imbued the film with convincing period atmosphere and elicited a superb central performance from Tsumasaburo Bando. He would remake the film in with the great star Toshiro Mifune in the lead; for most viewers, though, this earlier version remains the definitive one. Made during the final stage of the Pacific War, when the film industry was under state control and subject to strict censorship, Army is intended to convey the patriotic commitment of an average family. The father Chishu Ryu and mother an astonishing Kinuyo Tanaka are proud to send their son to the Manchurian front for the glory of the empire and the honour of the family. Debunking the ideological illusion of self-sacrifice and duty of the rest of the film, the last scene not only presents the love and suffering of a mother, but also becomes a milestone of emotion, ambiguity and resistance against the dehumanising representation of jingoism in propaganda films. Of course, Kinoshita paid for his audacity and did not direct another film until after the war. Its similarly slight narrative unfolds as a series of comic vignettes set to rousing military songs as the eponymous hero, born from a peach in a Japanese folktale, oversees the battle preparations of his airborne and seaborne squadrons of pheasants, monkeys, rabbits, dogs and other animals. Chilling stuff, but fascinating nonetheless. Depictions of the floating world ukiyo — the culture of pleasure and decadence centred around the red light districts of the Edo period — had been central to Japanese cinema since the pioneering days. Yet in the immediate aftermath of the Second World War, the occupying American forces banned period films for what was seen as their nationalistic celebrations of the past. For his second postwar production, Kenji Mizoguchi seems to have broken the cordon with this self-reflexive biopic of the 18th-century printmaker Kitagawa Utamaro, known for his portraits, scene-painting and erotica. Though a versatile filmmaker who worked in many genres, Shimizu is celebrated above all for his films about children. This independently produced masterpiece, shot against the backdrop of a Japan scarred by war, is certainly the most urgent and probably the most moving of them all. It tracks the journey of a group of war orphans led across western Japan by a demobilised soldier to the orphanage where he himself was raised. The backdrop of springtime underlines the sense of necessary change as time moves on, but as the camera lingers in hallways and rooms after the actors have left them, the sensation of absence is crushing. A landmark release from the year-old Akira Kurosawa, Rashomon is heralded as the film that brought global attention to Japanese cinema and its star, Toshiro Mifune, following its unveiling at the Venice Film Festival in , where it won the Golden Lion. Mikio Naruse stands shoulder to shoulder with the greats of Japanese cinema, even as the bulk of his work remains difficult to see in the west. His run of masterpieces in the s sees him in contention here for nearly every year of the decade, but represented something of a comeback. Adapting a Japanese novel from the 17th century, this period drama depicts the inexorable fall of a woman in a feudal and patriarchal society, from being a young noble daughter to becoming an elderly, derelict streetwalker and beggar nun. Oharu, played by Kinuyo Tanaka at the peak of her performing career and her collaboration with Mizoguchi, suffers cruelty and injustice beyond words, losing everyone and everything that matter to her. Nevertheless, all along the way, she fights for survival and maintains her human dignity and morality against those who intend to humiliate her. In a seemingly straightforward plot, peasants hire seven ronin — masterless samurai — to protect their village from a bunch of plundering bandits. Despite the tragic story, the third film directed by Tanaka is a striking, well-crafted melodrama portraying the struggles of a middle-aged woman and mother facing divorce, illness and death. It was scripted by the young novelist Shintaro Ishihara, and launched his rakish younger brother Yujiro to stardom in his first lead role. Yujiro subsequently married co-star Mie Kitahara while Shintaro later retreated into the world of politics, achieving some notoriety as the outspoken Governor of Tokyo between to Yuzo Kawashima is the missing link between the classic Japanese cinema and the s New Wave. Inspired by the tradition of comic storytelling, or rakugo, Kawashima integrates characters from its classic repertoire with elements of the turbulent history of a midth century Japan on the verge of dramatic transformation, while also nodding slyly to the experience of the postwar Japan in which the film was made. Comedian Frankie Sakai, a regular collaborator of the director, gives a splendidly vital performance. This deliciously wicked satire on the new cut-throat competitiveness of the postwar corporate world depicts the employees of three rival confectionary companies and their efforts to outdo one another with a series of increasingly ambitious, not to mention ludicrous, promotional campaigns. The whole enterprise looks set to be brought to its knees, however, when the younger of the pair rebuffs her romantic advances, prompting her to capitalise on her newfound public popularity and go it alone. Yasuzo Masumura fills his widescreen scope frame with garish colours and hectic compositions in this marker point of modernist cinema. If The Burmese Harp was a humanist treatise on individual action and responsibility, Fires on the Plain unflinchingly illustrates the depths of dehumanising atrocity at the Philippine front in the final days of the war. Stark widescreen compositions lay bare the panorama of horrors through which the hollow-eyed, tubercular protagonist trudges, on an agonising quest to retain his sense of self between an opening slap to the face and the infernal descent towards cannibalistic insanity that follows. With virtually no dialogue, the hypnotic The Naked Island portrays the stoic routines of a family living isolated in a tiny island, tirelessly carrying water for their meagre crops. The extraordinary performances of Nobuko Otowa and Taiji Tonoyama, and the haunting sounds of their physical work accompanied with the cyclical music score by Hikaru Hayashi, make of The Naked Island an intense sensorial experience. It will leave your hands aching and your throat desperate for a sip of water. Susumu Hani had worked on documentary in the s, and the influence of the documentary form is very much apparent in his feature debut, an understated and affecting study of the lives of juvenile delinquents in a reform school. Its non-judgemental, carefully observant approach was to prove typical of Hani, who was to go on to realise a series of intricate dramas on themes of female emancipation and adolescent psychology, and to explore themes of culture clash in films set in Kenya and Peru. But this jidaigeki from Masaki Kobayashi, the director of the Human Condition trilogy and Kwaidan , stands as one of the most thrilling and sophisticated examples of the genre — a tense masterpiece of the widescreen frame. In it, an amateur entomologist goes bug-hunting in the dunes only to find himself trapped in the home of a strange young widow. As he becomes stuck in an increasingly surreal tryst, surrounded only by mountains of sand, a strange form of Stockholm syndrome starts to settle in. This monumental crime thriller, adapted from a novel by Tsutomu Minakami, opens with the recreation of a real-life typhoon that in sent the ferry between Hokkaido and the Japanese mainland plunging to the bottom of the sea with much loss of life. Mariko Kaga, in multiple roles, holds the film together with her haunting central presence. Number Three Killer is a member of the Tokyo underground with a fetish for the smell of steamed rice. Branded to Kill follows the hits of this nihilistic hero played by Joe Shishido through a delirium of breathless action, exuberantly exhibited in black-and-white widescreen Nikkatsu Scope. Considered by many the ultimate yakuza thriller, the film cost Seijun Suzuki his position as director in Nikkatsu studios, but also transformed him into a counterculture cult figure of world cinema. Nikkatsu accused Suzuki of making films nobody could understand, and perhaps they had a point. But who needs meaning when greeted with such a feast of visual bravado and startling editing? His film also critiques the societal structures that granted them such terrible power. A stimulating filmmaker and sharp critic, Toshio Matsumoto left behind a rich trail of experimental shorts in which he sought to dismantle the traditional visual aesthetic of cinema. All of that same sense of play and investigation into the medium is up there on the screen in his feature-length debut, Funeral Parade of Roses. This groundbreaking queer manifesto mixes documentary, animation and avant-garde techniques to tell the story of a young trans woman of Shinjuku and her lover. Although less celebrated in the west than contemporaries such as Oshima and Imamura, Yoshishige aka Kiju Yoshida is one of the outstanding figures of the New Wave. Working in vital partnership with his wife and star, Mariko Okada, he realised a sequence of films probing themes of politics and transgressive sexuality. Widely considered his masterpiece, it juxtaposes the life and loves of an early 20th-century anarchist with the experiences of two students researching his theories in the late s. Seventies exploitation never looked so stylish as when realised within the Japanese studio system, which fell back on more sensationalist fare to get it through the decade. Its jailbreak narrative, as the eponymous Sasori Scorpion leads the gang of inmates flying their coop, unfolds in striking colours and widescreen compositions, with an unforgettable kabuki-inspired break midway through the proceedings introducing the convicts and their crimes. Over five films, released across 18 months in and , the series lobotomised any romantic notions of gangsterdom that had been percolating in both Japanese and western cinema the first Godfather film had been released the previous year. To help families to survive, underage girls were often sold to brothels, and some were sent overseas, labelled as karayuki-san. Directed by Kei Kumai, a filmmaker renowned for his passion and approach to social issues, Sandakan No. The painful reality of voiceless and forgotten women is laid bare here, and leaves a lasting impression. Some documentarians find themselves fixated on a subject. This is certainly the case with Noriaki Tsuchimoto, whose deeply humane interest in the after-effects of a devastating mercury poisoning incident in the seaside town of Minamata resulted in several masterful longitudinal films covering the disaster and the resultant disease. It was a game changer for the legendary actor Ken Takakura, previously typecast for his roles in Toei-produced yakuza films of the 60s including our choice, A Fugitive from the Past. Taking home a slew of domestic awards on release, The Demon tells the horrific tale of a father driven by his sadistic wife to abuse his children after their mother — his mistress — abandons them. This feverish, Dr. It features national rock star Kenji Sawada in the main role of Makoto, who assembles an atomic bomb in his tiny apartment with stolen plutonium and uses it to make demands on the Japanese government, among them allowing The Rolling Stones — then barred from Japan for narcotics possession — to play a concert in Tokyo. Though more evidently cast in the arthouse mould than the action B-movies he is remembered for, his first independent production, Zigeunerweisen, is much more representative of the Suzuki spirit. Set during the Taisho Era , when western ideas, technologies and fashions began permeating everyday life, this dreamlike supernatural drama revolves around two former colleagues from military academy linked by a record of the titular Sarasate violin piece and several women bearing uncanny resemblances to one another who may or may not be dead. The protagonist is a boy whose father runs a shabby diner on the banks of a river in Osaka. One day the boy spies a brother and sister duo emerging from the cabin of a moored boat, and decides to make friends. His father warns his son not to visit the siblings after dusk, as it turns out that their mother Mariko Kaga is a sex worker receiving clients at night. Playing out like a blues song, Muddy River offers gorgeous black-and-white visuals to offset the pathos and desperation of its evocative setting. The late Nobuhiko Obayashi began his career as a pioneering figure in Japanese experimental film in the s before making his feature debut with the surreal, nay bonkers, haunted house tale Hausu — still his most famous film in the west. In the s, his work branched out in a more commercial direction. This scabrous, funny and visually inventive satire on the Japanese family and the bourgeois obsession with academic achievement was the first major work of director Yoshimitsu Morita, a fascinating presence in late 20th- and early 21st-century Japanese cinema. Yusaku Matsuda gives an outrageous performance as the tutor hired to coach a wayward adolescent; sadly this talented actor died of cancer, aged only 40, in Juzo Itami son of the respected pre-war director Mansaku Itami was long established as an actor, and had won acclaim playing the father in The Family Game the year before, when he made his belated directorial debut at the age of 50 with this pointed black comedy. One of the rare masterpieces of the s, this brooding, breathtaking fable is the most significant work of independent filmmaker Mitsuo Yanagimachi, who mingles the earthy and everyday with the mysticism of Shinto lore. A lumberjack in a remote fishing village resists the development of a planned marine park, stirring tensions in the community, as the story builds slowly and implacably towards a devastating climax. An admirer of Mizoguchi and Robert Bresson, Yanagimachi directed a sequence of austere and haunting dramas. Playing for the most part without dialogue, it drifts between illusion and allusion, toying with the conventions of both the silent film and hardboiled detective genres in a mobius-strip narrative that leads the viewer through a maze of such baroque locales as a carnival fairground and a deserted film studio. The sets are by Takeo Kimura, known for his work with Seijun Suzuki in the s, while cameos from a host of veteran talent include the benshi silent film narrators Shunsui Matsuda and Midori Sawato. Despite losing footage shot in New Guinea, Hara spent five years editing the remaining material to produce this extraordinary documentary, still screened every summer in Japan, reaching new young and curious audiences. Adapted from his own manga of the same name, its exhilarating mix of explosive and precisely animated action and a paranoid, dystopian narrative had a lasting effect on sci-fi, inspiring a new wave of cyberpunk anime and many western imitators. The cult director has gone on to make a number of vivid deconstructions of sexual repression and a will towards violence see the equally gruesome Tokyo Fist, , but Tetsuo will forever be his rawest: anarchy seared onto black-and-white celluloid. Schoolgirls have become a fetishised icon in Japanese cinema in the modern era, but The Cherry Orchard predates all that. Following an Italian fighter pilot cursed to live as a pig after the First World War, its plot may appear simple compared with much of his filmography, but there are complex emotions at its heart. Porco Rosso favours romantic adventure over sombre realism, in an unforgettable and high-flying anime that walks a delicate line between brightly-coloured derring-do and a melancholic reflection on lost love. An offbeat yakuza thriller, Sonatine sees the prolific TV superstar-turned-auteur throw his best punches as both performer, playing a tragic gang boss, and writer-director, as he offers up his poetic brand of minimalism, machismo and violence. His portrayal of a kingpin caught in a war between clans is full of despair, laying the groundwork for a nihilistic finale. It focuses on a year-old boy with an unrequited crush on his straight best friend; he in turn has feelings for a new girl in school, who has her own secret… Hashiguchi charts the shifting dynamics of the triangle with poise and precision in this gently paced and freshly observed film. Superstar Koji Yakusho had himself worked as a municipal clerk before taking up an acting career, so was a good fit for the role of Sugiyama, the deskworker who glimpses a beautiful woman real-life ballerina Tamiyo Kusakari giving social dance lessons from the window of his commuter train and decides that he too must learn to waltz. Dancing provides Sugiyama the kind of joy that had always eluded him, and this uplifting story of reinvention turned out to be hugely appealing to audiences worldwide, making it a substantial hit. Few directors have managed to articulate such an air of cold desperation and emotional abandonment from the cityscapes of post-Bubble-era Tokyo as Kiyoshi Kurosawa does in Cure. Evil seems to linger behind each blank building facade or facial expression in this unique take on the psychological thriller, whose spare and detached approach often feels like it is holding back on the very thrills the genre trades on. The ubiquitous Koji Yakusho stars as anguished police detective Takabe, whose obsessive investigations into an apparently perpetrator-less string of homicides lead him through a labyrinthine narrative. Mesmerism, amnesia and appropriated identities present various paths of an enquiry that take him further from a spiritual emptiness much closer to home. Based on a novel by Koji Suzuki, it derives its frightful potency from riffiing on the traditional vengeful spirit onryo archetype of Japanese folklore, while tapping into a very modern sense of technology-induced anxiety. Sequels became a franchise, and an American remake followed, while Nakata freaked us all out again with Dark Wate r in Another pre-millennial J-horror release that plunged a stake of fear and shock into the hearts of cinemagoers worldwide, it finds a director whose stories often involve men decapitating each other in a rare, quasi-feminist mood. You can then practically hear him chortling with glee when, in the latter half of the film, Aoyama pays dearly for his actions. A fantasy film telling the story of Chihiro, a young girl whose parents undergo a mysterious transformation in a bizarre punishment for greed, this coming-of-age tale is imbued with a Shinto perspective on responsibility and the natural world. This is the debut film of one of the most widely known and respected female directors in contemporary Japan, Miwa Nishikawa. A former assistant to Hirokazu Koreeda, who serves here as producer, Nishikawa also wrote the original script of the film, constructing a brilliant story about the secrets and lies behind the apparent normality of a middle-class family. With Maborosi and After Life , Hirokazu Koreeda emerged as a major new force in Japanese arthouse cinema, his quiet, observational mode and domestic focus drawing frequent comparison with Ozu. After a best actor win at Cannes for teenager Yuya Yagira, the youngest performer ever to win the award, Nobody Knows cemented his position as a festival darling and subsequently became his most widely seen feature thus far. Heart-rending, and with a tragic finale. Four schoolgirls form a rock band to participate in their high school graduation festival. In the hands of Nobuhiro Yamashita, this simple storyline becomes an intimate coming-of-age film that reveals the trials and dreams of youth with delicacy and a pinch of nostalgia. Paprika is a testament to the power of animation, blurring the line between the dreamscape and the real in a way that live action could never replicate. This day siege saw five members of the United Red Army left-wing radical group occupying a remote mountain inn, and two police officers and one civilian killed and many injured in the ensuing shootout. Instead, he provides an assured and insightful account of the moment the turbulent world of s political activism turned toxic. A comedy-action-romance-movie with a runtime approaching four hours about the wayward son of a Catholic priest with a penchant for upskirting might not seem an enticing proposition on paper. However, if maverick bad-boy Sion Sono has ever made a masterpiece, then this is it. It unfolds with such brio and unpredictability that one barely notices the ludicrousness of its premise, nor even that the opening credits occur a full hour into the action. Its loopy sci-fi concept and hyperactive action is consistently grounded by sincere and down-to-earth family drama, as in The Girl Who Leapt through Time before it, and Mirai to come. Summer Wars is memorable not just for its unique approach to spaces existing outside of reality, but for its attention to how these spaces affect his characters. Its central figure is Yuichi Satoshi Tsumabuki , a young working-class loner suffering from a traumatic childhood, who meets Mitsuyo Eri Fukatsu , a shop assistant, through an online dating site. The pair fall in love, but when Yuichi becomes prime suspect in a murder investigation, their romance faces a desperate future on the run. Reflecting dark issues in contemporary Japanese society, it poses provocative questions of the nature of good and evil. The second Koreeda title on this list — the sublime Still Walking fell inbetween — finds him again working with child actors, inimitably drawing out their natural talent and potential. It proved the sleeper hit of in Japan, opening three months after the East Japan earthquake that subsequently triggered the Fukushima disaster; I Wish was perhaps the kind of cinematic balm that audiences needed to see. Flashback Memories 3D is an unorthodox documentary portrait of a didgeridoo player, Goma, who is unable to form new memories following a traffic accident. The relentless, hypnotic throb of his playing and inventive use of 3D contribute to this overwhelming sensory portrait of a man frozen in the moment. It could have been a realist film, about the daily lives of locals and urban exiles, and the conflicts over the construction of a tunnel that will inevitably bring the outside world closer. Yet in its length and visual grandeur, it has the scope of an epic. Director Tetsuichiro Tsuta a native of Tokushima Prefecture where the film is set and cinematographer Yutaka Aoki employed the now rare medium of 35mm, capturing the dramatic mountain vistas to stunning effect. It brought a then relatively new female director, Mipo Oh, to sudden stardom on the domestic and international stage with a rush of awards and acclaim, including the chance to represent Japan in the foreign language section of the 87th Academy Awards. Marshalling superb acting, camerawork and music, Oh, who is always interested in family bonds, sensitively created a dynamic love story from a female perspective. Becoming a major force on the international festival circuit, Ryusuke Hamaguchi is one of the most promising Japanese filmmakers of the new generation. On completion of a graduate programme in film at the Tokyo University of the Arts, he came up with his degree project, Passion , a mature drama concerned with the fragility of human relationships. The title refers to the organ that the young daughter struggles doggedly to get a tune from, providing the only real soundtrack to the delightfully observed absurdities of family life before things take a much darker turn. That the then year old Obayashi had been diagnosed with cancer and given mere months to live before embarking on his minute opus is impressive enough. That he followed it with the equally ambitious crowning achievement of his career, Labyrinth of Cinema , is simply astonishing. Shoplifters paints a portrait of a makeshift family of outcasts living on the outskirts of Tokyo. Existing on the outskirts of the city reflects their marginalised existence within society, reliant on shoplifting to survive. After studying filmmaking in Tokyo, Natsuka Kusano announced her talent in with Antonym. Her second film, Domains, is more ambitious still, offering a stark deconstruction of the cinematic experience. As for why, the question is momentarily left unanswered. Skip to content. Director: Buntaro Futagawa. Director: Teinosuke Kinugasa. Director: Yasujiro Ozu. Yasujiro Ozu: 10 essential films. Director: Shigeyoshi Suzuki. Director: Heinosuke Gosho. Buy I Was Born, But Watch I Was Born, But Director: Hiroshi Shimizu. Director Yasujiro Shimazu. Director: Mikio Naruse. Director: Kenji Mizoguchi. Kenji Mizoguchi: 10 essential films. Director: Sadao Yamanaka. Director: Tamizo Ishida. Director: Shiro Toyoda. Director: Kajiro Yamamoto. Director: Hiroshi Inagaki. Director: Keisuke Kinoshita. Director: Kozaburo Yoshimura. Director: Akira Kurosawa. Machiko Kyo: five essential films. Akira Kurosawa: 10 essential films. Director: Kinuyo Tanaka. Director: Yuzo Kawashima. Director: Yasuzo Masumura. Director: Kon Ichikawa. Where to begin with Kon Ichikawa. Director: Kaneto Shindo. Where to begin with Kaneto Shindo. Director: Masaki Kobayashi. Director: Shohei Imamura. Director: Hiroshi Teshigahara. Director: Kazuo Kuroki. Director: Seijun Suzuki. Director: Nagisa Oshima. Director: Toshio Matsumoto. Director: Yoshishige Yoshida. Director: Shuji Terayama. Director: Kinji Fukasaku. Director: Noriaki Tsuchimoto. Director: Noboru Tanaka. Director: Yoshitaro Nomura. Director: Kazuhiko Hasegawa. Zigeunerweisen is coming soon to BFI Player. Director: Nobuhiko Obayashi. Where to begin with Nobuhiko Obayashi. Director: Yoshimitsu Morita. Director: Mitsuo Yanagimachi. Director: Kaizo Hayashi. Director: Katsuhiro Otomo. Director: Shinya Tsukamoto. Where to begin with Japanese cyberpunk Five reasons to watch cyberpunk body-horror Tetsuo: The Iron Man — 30th anniversary. Director: Shun Nakahara. Director: Isao Takahata. Where to begin with Studio Ghibli. Director: Hayao Miyazaki. Director: Takeshi Kitano. Where to begin with Takeshi Kitano. Director: Naomi Kawase. Director: Ryosuke Hashiguchi. Director: Masayuki Suo. Director: Kiyoshi Kurosawa. Cure is coming soon to BFI Player. Director: Hideo Nakata. Director: Takashi Miike. Director: Shinji Aoyama. Director: Miwa Nishikawa. Director: Hirokazu Koreeda. Director: Nobuhiro Yamashita. Director: Mamoru Hosoda. Family foods: How Hirokazu Koreeda serves drama at the dinner table. Director: Tetsuaki Matsue. Director: Tetsuichiro Tsuta. Director: Ryusuke Hamaguchi. Harmonium is coming soon to BFI Player. Director: Natsuka Kusano. Try 14 days free. Originally published 14 May

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