An ambitious samurai finds himself corrupted by the times in which he lives in Fukasaku’s etherial fusion of Yotsuya Kaidan and the Chushingura
Jan 1, 2022 • Subscribe
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YOTSUYA KAIDAN 四谷怪談 (1949) + NIJI OTOKO (THE RAINBOW MAN) 虹男 (1949)
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An anxious writer fears collapse under the weight of fatherhood in Kinji Fuksaku’s adaptation of the autobiographical novel of Kazuo Dan.
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A haunted Go board, a paranoid lord, and a rumour about a vengeful ghost cat spirit throw a small community into chaos in Kunio Watabe’s playful supernatural drama
The Ghosts of Kagami Pond (怪談鏡ケ淵, Masaki Mori, 1959)
The ambitious manager of a kimono store gets a gets a ghostly comeuppance in Masaki Mori’s B-movie kaidan
Motoshinkakarannu (沖縄エロス外伝 モトシンカカランヌー, NDU, 1971)
The Nihon Documentarist Union visits Okinawa on the brink of its reversion and capture a sense of anxiety of those caught at a moment of transition.
The Ghost of the Hunchback (怪談せむし男, Hajime Sato, 1965)
Morally compromised citizens of post-war Japan find themselves trapped in the purgatorial hell of a creepy old mansion in Hajime Sato’s gothic romp
The Pledge (博奕打ち外伝, Kosaku Yamashita, 1972)
The gangster code slowly consumes series of men each trying to do the right thing but hamstrung by the actions of others in Kosaku Yamashita’s yakuza tragedy.
The Kamikaze Guy (カミカゼ野郎 真昼の決斗, Kinji Fukasaku, 1966)
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An attempt at a hostile takeover from corporatised Kobe gangsters destabilises the precarious balance of post-war Osaka in Sadao Nakajima’s anarchic jitsuroku eiga.
The Tattooed Hitman (山口組外伝 九州進攻作戦, Kosaku Yamashita, 1974)
An old-school footsoldier finds himself left behind by his friend’s unstoppable rise in the realms of corporatised gangsterdom in Kosaku Yamashita’s jitsuroku gangster picture.
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