Follows the life of an illegitimate son of a kabuki actor.

Shizuko hesitates between two suitors. While the one she marries commits suicide following a scandal, the other refuses to marry out of love for her. Considered a lost film.

Otane, the daughter of a thread shop owner in Ryogoku, is in love with Sumio, the son of an ivory craftsman who lives nearby. The two are united in a tatami room on the second floor of a soba restaurant. Soon Sumio goes to study in Paris, but during that time Otane realizes that she is pregnant with Sumio's child. Considered a lost film.

A young woman seduced by a rich man, takes revenge on him with the help of a young idealistic worker. Considered a lost film.

A village romantic drama. (Now lost.)

The Morning Sun Shines is a fiction-documentary film by Kenji Mizoguchi and Seiichi Ina. The film is a combination of a drama about a reporter, and documentary footage about newspaper production. Only 25 minutes of footage has survived.

An omnibus of 13 stories singing the praises of Japanese patriotism during wartime, set on the frontlines and back home.

A classic melodramatic love tragedy addressing social inequality in Taishō-era Japan, The nostalgic scenes of 1920s Tokyo provides a valuable visual experience set against the background of the title song, "Tokyo March." (Sadly, less than a half hour of the footage has been recovered and restored.)

When wealthy Ochika marries desolute Danpei, she devotes herself completely to him and takes over her business, to the point of sowing dissensions within the Jōruri troupe in which her husband plays.

A socially committed film about the feudal state of many Japanese women in 1946. Hiroko Hosokawa, a female lawyer, defends Mrs. Asakura, who suffocated her child in her grief after her husband died penniless following an industrial accident. The prosecutor is Hiroko's sister's husband Kono, who also sent Hiroko's fiance, Yamaoka, to jail for his liberal views during the war. Yamaoka has just been freed, but is seriously ill from his time in prison.

As all his peers leave the countryside moxia.cc to study in Tokyo, Naotaro stays behind.

“Oyuki, the [Virgin] is based on Kawaguchi Matsutaro’s adaptation of Maupassant’s “Boule de Suif” [“Lump of Fat,” also the inspiration for Ford’s Stagecoach]. To this story Mizoguchi added some of his own elements. Maupassant’s original work, set during the Franco-Prussian War, is the story of a group of people who try to flee the battleground in a horsedrawn carriage. The bourgeois use the expression “lump of fat” to refer sarcastically to the prostitute who is riding along with them. When they are caught by the enemy, they offer to send her to the commander as a human sacrifice. This done, when they leave the battlefield the next day, all they do is censure her and call her vulgar.
The scene shifts to the Seinan war in Kyushu. At one stage, government forces are seen trying to control the carriage. As a new element to the original story the film shows these forces being defeated in battle. The commander flees and hides in the home of the female protagonist, a saké server.
The original work is a critique of bourgeois selfishness. [Oyuki] is shown as a humble woman, protected by a young man out to make a success of himself in the world, a Mizoguchi theme so visible in other films.”
--Tadao Sato, Kenji Mizoguchi and the Art of Japanese Cinema

In 19th-century Japan, a young swordsmith is determined to make the best sword possible after an inferior one he made indirectly led to the death of his guardian.

Shinobu and her brother Genichiro plead with famous swordsman Musashi Miyamoto to teach them to avenge their father's death. The perpetrators of their father's demise see the siblings practicing, and so enlist the help of another revered swordsman, Kojiro Sasaki, giving the latter an excuse to battle Miyamoto.

1946 film by Kenji Mizoguchi