Wataru Hirayama's outwardly liberal views on marriage are severely tested when his daughter declares that she is in love with a coworker and is adamant to live life her own way, instead of agreeing to an arranged marriage. Outwitted by his female relatives, Hirayama stubbornly refuses to admit defeat.

A young salaryman and his wife struggle within the confines of their passionless relationship while he embarks on an extramarital affair.

1948 film by Yasujirō Ozu

1932 film by Yasujiro Ozu

1949 film by Yasujiro Ozu

1962 Japanese film by Yasujiri Ozu

This short documentary by Ozu was intended to present the artistry of kabuki dancer Kikugoro Onoe IV to both Japanese and foreign audiences. A voice-over narration introduces Kikugoro as well as the dance he performs in the film's second half, in which a young girl is transformed into a resplendent lion (the imagery of which apparently inspired Jean Cocteau as he conceived his own BEAUTY AND THE BEAST). Watching Kikugoro imitate the gestures of a demure maiden you see how he deserved his fame. Ozu shoots the performance in three simple set-ups: a roving frontal shot of the performers on stage, an angled shot from the side of the stage, and an angled longshot that acknowledges the presence of the audience in a way that is unmistakably Ozu.

An errant salaryman's son gets lost until a man from the Tokyo tenements brings him to vendor Tane, who's reluctant to let the kid board.

1942 film by Yasujirō Ozu

The arranged marriage between a capricious woman from Tokyo high society and a quiet and rustic man is tested by a marital crisis.

1957 film by Yasujirō Ozu

A woman and her daughter are each forced to contend with an increasing pressure to marry, particularly from three men who knew her late husband.

The elderly Shukishi and his wife, Tomi, take the long journey from their small seaside village to visit their adult children in Tokyo. Their elder son, Koichi, a doctor, and their daughter, Shige, a hairdresser, don't have much time to spend with their aged parents, and so it falls to Noriko, the widow of their younger son who was killed in the war, to keep her in-laws company.