Keiju Kobayashi

This is a hybrid cut of both the original Japanese version The Return of Godzilla and Godzilla 1985, meant to combine the best aspects of both. This re-edit seeks to accomplish a happy medium between the two versions. The film will still be highly critical of both the United States and the Soviet Union, and will work to marginalize the more humorous aspects of the added Pentagon scenes. Their inclusion will fit better with the bureaucratic behind-the-scenes narrative of the original cut, and most additional music from the American cut will be included. All Japanese dialogue will remain intact, with English subtitles. Finally, this cut will feature a brand new opening to the film, one that seeks to definitely tie the new Godzilla to the original beast in an eerie and unforgettable way. In short, Godzilla: Resurrection will aim to be my definitive version of the return of the King of the Monsters.

August 1945. In a converted theological seminary on the outskirts of Nagasaki, a young doctor works to help his patients, as unsettling news comes of a new weapon used by the Americans on the city of Hiroshima. When the second nuclear weapon is dropped on Nagasaki, the hospital staff must work to save lives in the midst of the concentric circles of death that their city has become.

No plot available for this movie.

Documentary made by Toho for the Masterworks reissue of all of its Kurosawa films. This one focuses on "The Hidden Fortress" (1958).

Documentary made by Toho for the Masterworks reissue of all of its Kurosawa films. This one focuses on "Sanjuro" (1962).

In a world where vendettas are officially sanctioned, the people sometimes needed help in carrying out their vengeance. Sanada Hiroyuki stars as Sukeroku the Helper, a ‘cool and rambling yakuza’ that has made a business out of helping victims carry out their revenge. When he returns to his hometown to pay a visit to his mother’s grave he meets a deadly ronin who carries a secret which eventually leads him into a vendetta of his own.

A woman is discovered strangled inside a car, and Inspector Muta of the Yamashita police station hurries to the scene! The relationship between the murdered woman and a suspect whom the new Assistant Inspector, Iwaki, has been pursuing for one year will soon become clear...

Veteran filmmaker Nobuhiko Obayashi rounds out the second of his two trilogies about his hometown of Onomichi with this film about the budding relationship between a young lad and an eccentric old man. Fifth-grader Yuta (Takuro Atsugi) is a typical city child looking forward to a summer of reading comic books and playing video games. Instead, he is bundled off to his grandparent's house on the Inland Sea. His grandfather, Yuta's parents explain, has been acting strangely as of late -- he eats the offerings in the family altar and once tried to lead attendants at a funeral in a rousing round of calisthenics. Since his mother and father are swamped with work, and his elder sister (Nana Sano) is studying for college entrance exams, Yuta has been asked to look after Grandpa. The old man takes Yuta on a tour of Onomichi, regaling him with 70 years of its history. Along the way, Grandpa slips in and out of the past, increasingly unable to discern between the two.

An attorney from Yokohama is found murdered at Lake Toya in Hokkaido. Uematsu (Noi Yasuo), of the Hokkaido police goes to Yokohama in search of Konno Shizuka (Watanabe Azusa), a woman who may know something about the case. He tries to take her in to the station for questioning. Muta (Kobayashi Keiju) happens to be there as well. Muta learns that Konno has a debt with a moneylender in Hokkaido.

Mitsu works in a factory and has a crush on Tsutomu, a young man she met on the Tokyo streets. One day the two go out, and after some deception, Tsutomu manages to have his way with her. Coming from a broken home, he is frightened by love, so he cruelly allows her to wake up alone. A month passes and a more grown-up Tsutomu returns. The lovers joyously reunite and move in together. All is blissful until both notice a strange sore on Mitsu's arm. The doctors diagnose it as leprosy. Without telling Tsutomu, Mitsu checks into a leper sanitarium. Hanging out with society's pariahs gives her much insight. She discovers the old lepers to be wonderful people. In turn, Mitsu becomes their source of joy and renewed hope. Still, she misses her Tsutomu. One day, the doctors inform her that they erred and that the sore is not leprosy. Happily she heads back to her true love until she realizes with a guilty pang that to return to him would mean unhappiness for her newfound friends