Amorality in Japan. Tome is born into poverty in rural Japan, in the late 1910s. Chuji, her father, dotes on her; her mother is less faithful. Tome becomes a neighbor's mistress, works at ... See full summary »
Set against the serene frozen tundras of the Arctic, a group of desperate sailor's wives wait patiently for their husbands return from sea. As bad news knock on their door, one woman finds ... See full summary »
(French with English subtitles) In this study of the lust for youth, Michel, a disillusioned cop nearing retirement, becomes obsessed with the body of a beautiful woman he meets on the ... See full summary »
The Tokyo engineer Kariya arrives on a primitive tropical island to drill a well to provide water for the sugar mill. He is assisted on the island by Kametaro, from the inbred Futori family... See full summary »
Being a faithful 'company man', Yoshikawa moves steadily ahead within the Toho corporation. But Kaji, his old friend, makes his way through the dark side of the social world, working for a ... See full summary »
On August 15, ten years after the Pacific War, five people meet at a station. Their purpose is to dig out a cache of morphine -- now worth sixty million yen -- that HASHIMOTO, an army ... See full summary »
An impossible tale. Taro, an old man who dies homeless in Tokyo has told Yosuke, a weak-willed out-of-work salaryman about a golden statue that he left years ago in a house by the sea in Noto. Yosuke goes and he's captivated by Saeko, a young women who lives in the house where Taro left the statue. She has a strange affliction: water builds up in her and she can only vent it by wicked acts, such as shoplifting, or, more powerfully, through orgasm. Yosuke obliges, the water gives him life, as well as the plants and fish it reaches. Saeko feels shame, and she has a past. Taro's ghost urges Yosuke to fulfill his desires, but can the relationship survive? Written by
It's sad to know there will be no more new Imamura films. I think the previous reviewer is probably lacking a sense of fun. This isn't drivel; it's wicked fun. In the same way he dissects small-town vs. big-city attitudes in "The Eel," Imamura shows us how disconnected from real life the corporate world of Tokyo can make a man by thrusting him into the chaos of joblessness where everything he knows is useless. This is an opportunity to see the ever-hot Koji Yakusho at his James Stewart/Buster Keatonesque best in a story that's worthy of García-Márquez, for its utterly plausible mix of the other-worldly with the down-to-earth. I gave it a 9 out of 10 because Imamura seems to be mystified enough by women that he doesn't flesh out their characters as much as they might deserve, but the mystification is part of the story in this case. Great score, too!
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