Eiko Miyoshi
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1958
隠し砦の三悪人
隠し砦の三悪人7.951 1958 HD
In feudal Japan, during a bloody war between clans, two cowardly and greedy peasants, soldiers of a defeated army, stumble upon a mysterious man who guides them to a fortress hidden in the mountains.
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1957
蜘蛛巣城
蜘蛛巣城7.942 1957 HD
Returning to their lord's castle, samurai warriors Washizu and Miki are waylaid by a spirit who predicts their futures. When the first part of the spirit's prophecy comes true, Washizu's scheming wife, Asaji, presses him to speed up the rest of the spirit's prophecy by murdering his lord and usurping his place. Director Akira Kurosawa's resetting of William Shakespeare's "Macbeth" in feudal Japan is one of his most acclaimed films.
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1949
野良犬
野良犬7.496 1949 HD
A bad day gets worse for young detective Murakami when a pickpocket steals his gun on a hot, crowded bus. Desperate to right the wrong, he goes undercover, scavenging Tokyo’s sweltering streets for the stray dog whose desperation has led him to a life of crime. With each step, cop and criminal’s lives become more intertwined and the investigation becomes an examination of Murakami’s own dark side.
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1952
生きる
生きる8.325 1952 HD
Kanji Watanabe is a middle-aged man who has worked in the same monotonous bureaucratic position for decades. Learning he has cancer, he starts to look for the meaning of his life.
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1959
お早よう
お早よう7.7 1959 HD
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.