A sociopathic student takes revenge on a changing society by seducing wealthy women in Mikio Naruse’s brooding noir.
Oct 21, 2023 • Subscribe
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Sound of the Mountain (山の音, Mikio Naruse, 1954)
A failed patriarch resolves to set his unhappily married daughter-in-free in Mikio Naruse’s post-war marital drama
A Woman’s Place (女の座, Mikio Naruse, 1962)
The young women of post-war Japan struggle to define themselves in a changing society in Mikio Naruse’s uncharacteristically hopeful family drama
A Wife’s Heart (妻の心, Mikio Naruse, 1956)
When plans to start a new business go awry, a dejected wife finds herself at a crossroads in Mikio Naruse’s martial drama.
Wife (妻, Mikio Naruse, 1953)
An unhappily married woman contemplates independence but struggles to see herself as anything other than a “wife” in Naruse’s bitter marital drama
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I got a pleasant surprise recently when I watched Mikio Naruse’s AUTUMN HAS ALREADY STARTED (1960). At a key point in the narrative, the two child protagonists living…
Repast (めし, Mikio Naruse, 1951)
An unhappily married woman fed up with the drudgery of her existence considers other options but finally concludes there are none in Naruse’s bleak melodrama
Lightning (稲妻, Mikio Naruse, 1952)
An aspirant young woman envisages a different life herself than the dissatisfactory marriages of her mother and sisters in one of Mikio Naruse’s more hopeful drama.
Flowing (流れる, Mikio Naruse, 1956)
The denizens of a moribund geisha house contemplate visions of independence in post-war Japan Mikio Naruse’s thriving ensemble drama.
Late Chrysanthemums (晩菊, Mikio Naruse, 1954)
Four former geishas struggle to find their place in a changing society in Miko Naruse’s melancholy melodrama.
Silent Naruse: STREET WITHOUT END (1934)
Last year I saw eleven films directed by Mikio Naruse, raising to 24 the number of films I’ve seen by him. So far this year I’ve seen two…
Untamed (あらくれ, Mikio Naruse, 1957)
A rebellious woman strives for independence in a patriarchal society but nevertheless finds herself hamstrung by feckless men in Naruse’s Taisho-era drama
Sincerity (まごころ, Mikio Naruse, 1939)
When the daughter of a poor family leapfrogs that of a rich one to be named top of the class, it exposes a series of hypocrisies and contradictions…
A Wanderer’s Notebook (放浪記, Mikio Naruse, 1962)
A determined young woman seeks a way out of poverty in Mikio Naruse’s biopic of author Fumiko Hayashi.
Mother (おかあさん, Mikio Naruse, 1952)
A teenage girl struggles to understand her self-sacrificing mother in Mikio Naruse’s subversive take on the hahamono
The Approach of Autumn (秋立ちぬ, Mikio Naruse, 1960)
A small boy finds himself trapped between the new society and the old in Mikio Naruse’s often deceptively cheerful childhood drama.
Street of Love and Hope (愛と希望の街, Nagisa Oshima, 1959)
A young man’s pigeon selling scam eventually ruins his cross-class friendship with a wealthy young woman in Oshima’s biting sociopolitical drama
Hit and Run (ひき逃げ, Mikio Naruse, 1966)
A grief-stricken mother hatches a desperate plan of revenge against the woman who killed her son in Mikio Naruse’s dark psychological drama.
Five Men in a Circus (サーカス五人組, Mikio Naruse, 1935)
A 5-piece jinta brass band ends up performing as ringers at strike-stricken circus in Naruse’s melancholy anti-authoritarian comedy
Red Post on Escher Street (エッシャー通りの赤いポスト, Sion Sono, 2020)
The extras reclaim the frame in Sion Sono’s anarchic advocation for the jishu life.
Over the Town (街の上で, Rikiya Imaizumi, 2019)
An awkward young man chases love and romance on the streets of Shimokitazawa in Imaizumi’s soulful ode to the ever changing district
Sugar Street Studio (糖街製片廠, Sunny Lau, 2021)
A gang of plucky filmmakers right a historical wrong while running an “authentic” haunted house in Sunny Lau’s charmingly retro horror comedy
街
The Town, and Murakami's New Novel - How to Japanese - March 2023
傘の下、ふたり
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A maverick cop finds himself at the centre of a moribund gang war in Kihachi Okamoto’s anarchic western-inflected crime drama
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A trio of teens begin to find new direction in their lives after coming together to organise a fireworks festival in Emiko Hiramatsu warmhearted local drama.
The Big Boss (暗黒街の顔役, Kihachi Okamoto, 1959)
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An ore ore scammer’s cynical worldview is challenged when he finds temporary harbour with an elderly woman in Yamamoto’s touching indie drama
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A legacy of familial trauma engulfs a once noble house in Kindaichi’s final and most complicated case
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A Bullet Hole Underground (地下街の弾痕, Kazuo Mori, 1949)
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