An unforgettable mixture of bubblegum teen melodrama and grisly phantasmagoria, Obayashi’s deranged fairy tale House is one of Japanese cinema’s wildest supernatural ventures and a truly startling debut feature.

Distressed by her widowed father’s plans to remarry, Angel sets off with six of her schoolgirl friends in tow for a summer getaway in her aunt’s isolated mansion. But all is not well – in this house of dormant secrets, long-held emotional traumas have terrifyingly physical embodiments and the girls will have to use all their individual talents if any are to survive.

A rollercoaster ride without brakes, House is by turns sinister, hilarious and curiously touching, with ceaseless cinematic invention and a satirical, full-blooded approach to the horror genre.

Down-on-his-luck veteran Tsugumo Hanshirō enters the courtyard of the prosperous House of Iyi. Unemployed, and with no family, he hopes to find a place to commit seppuku—and a worthy second to deliver the coup de grâce in his suicide ritual. The senior counselor for the Iyi clan questions the ronin's resolve and integrity, suspecting Hanshirō of seeking charity rather than an honorable end. What follows is a pair of interlocking stories which lay bare the difference between honor and respect, and promises to examine the legendary foundations of the Samurai code.

One of the most influential cyberpunk films of all time, Tetsuo The Iron Man chronicles a salaryman's (Tomorowo Taguchi) transformation from man to metal after himself and his girlfriend (Kei Fujiwara) accidentally run down a metal fetishist (Shin’ya Tsukamoto) with their car. Soundtracked by pulsating punk, Tetsuo The Iron Man remains one of the most explosive films.

Japan has barely recovered from the Second World War when a gigantic peril emerges off the coast of Tokyo. Koichi, a deserter traumatised by his first confrontation with Godzilla, sees this as an opportunity to redeem his conduct during the war.

The tale of an eccentric band of culinary ronin who guide the widow of a noodle-shop owner on her quest for the perfect recipe, this rapturous “ramen western” by Japanese director Juzo Itami is an entertaining, genre-bending adventure underpinned by a deft satire of the way social conventions distort the most natural of human urges—our appetites. Interspersing the efforts of Tampopo (Nobuko Miyamoto) and friends to make her café a success with the erotic exploits of a gastronome gangster and glimpses of food culture both high and low, the sweet, sexy, and surreal Tampopo is a lavishly inclusive paean to the sensual joys of nourishment, and one of the most mouthwatering examples of food on film ever made.

42 9th graders are sent to a deserted island. They are given a map, food, and various weapons. An explosive collar is fitted around their neck. If they break a rule, the collar explodes. Their mission: kill each other and be the last one standing. The last survivor is allowed to leave the island. If there is more than one survivor, the collars explode and kill them all.

A fictionalized account in four chapters of the life of celebrated Japanese writer Yukio Mishima.

A detective starts spiraling out of control when a wave of gruesome murders with seemingly similar bizarre circumstances are sweeping Tokyo.

Hirayama is content with his life as a toilet cleaner in Tokyo. Outside of his structured routine, he cherishes music on cassette tapes, books, and taking photos of trees. Through unexpected encounters, he reflects on finding beauty in the world.

Godzilla is the roaring granddaddy of all monster movies. It’s also a remarkably humane and melancholy drama, made in Japan at a time when the country was reeling from nuclear attack and H-bomb testing in the Pacific. Its rampaging radioactive beast, the poignant embodiment of an entire population’s fears, became a beloved international icon of destruction, spawning almost thirty sequels.

While her son, Kichi, is away at war, a woman and her daughter-in-law survive by killing samurai who stray into their swamp, then selling whatever valuables they find. Both are devastated when they learn that Kichi has died, but his wife soon begins an affair with a neighbor who survived the war, Hachi. The mother disapproves and, when she can't steal Hachi for herself, tries to scare her daughter-in-law with a mysterious mask from a dead samurai.

When infertility threatens mankind with extinction and the last child born has perished, a disillusioned bureaucrat (Clive Owen) becomes the unlikely champion in the fight for the survival of Earth's population; He must face down his own demons and protect the planet's last remaining hope from danger.

Farmers from a village exploited by bandits hire a veteran samurai for protection, who gathers six other samurai to join him.

Set in feudal Japan, this film presents an intriguing tale of violent crime in the woods, told from the perspective of four different characters -- a bandit, a woman, her husband and a woodcutter. Only two things about the incident seem to be clear -- the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily enough, speaking through a medium). As each account is revealed, what seemed black-and-white turns to various hues of gray, leading to surprising -- and confounding -- revelations.

First of a trilogy of films. During the Second World War, a Japanese conscientious objector named Kaji works as a supervisor in a Manchurian prison camp. He hopes to avoid duty as a soldier, but he also hopes to be helpful to the welfare of his prisoners. An escape attempt by Chinese prisoners results in Kaji's arrest for collusion. He faces the possibility of transferral to combat--or worse.