Top 100 Post War Japan movies
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Godzilla Minus One (2023)
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In postwar Japan, Godzilla brings new devastation to an already scorched landscape. With no military intervention or government help in sight, the survivors must join together in the face of despair and fight back against an unrelenting horror.
From Up on Poppy Hill (2011)
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Yokohama, 1963. Japan is picking itself up from the devastation of World War II and preparing to host the 1964 Olympics—and the mood is one of both optimism and conflict as the young generation struggles to throw off the shackles of a troubled past. Against this backdrop of hope and change, a friendship begins to blossom between high school students Umi and Shun—but a buried secret from their past emerges to cast a shadow on the future and pull them apart.
Madadayo (1993)
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Based on the life of Hyakken Uchida, a Japanese author and academic. The film opens with Uchida resigning his job as a German professor at the onset of WWII. The story is told mostly in vignettes as he is cared for by former students in his old age.
The International Gang of Kobe (1975)
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In 1947, in Kobe, Japan, a local street gang fights for their survival when its turf is overrun by United States occupation forces and international gangs.
A Certain Killer (1967)
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A former soldier, reduced to working at a restaurant post-war, becomes a contract killer for the yakuza gangs he's in contact with.
The Elegant Life of Mr. Everyman (1963)
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A salaryman's drunken ravings in public attract the attention of journalists who coerce him into telling them his life's story.
Pigs and Battleships (1961)
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In the city of Yokosuka, Kinta and his lover Haruko, both involved with yakuza, brave the post-occupation period with a goal to be together.
Cruel Story of Youth (1960)
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A budding gangster enthralls a freeloading young woman, soon taking advantage of her knack for hitch-hiking to rob middle-class, middle-aged men.
The Sun's Burial (1960)
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In Osaka's slum, youths without futures engage in pilfering, assault and robbery, prostitution, and the buying and selling of identity cards and of blood. Alliances constantly shift. Tatsu and Takeshi, friends since boyhood, reluctantly join Shin's gang. Shin's an upstart and moves his gang often to avoid the local kingpin. Hanoko is a young woman with ambitions: first she's in the blood business with her father, then she joins forces with Shin. She soon breaks off that partnership, even though she's taken the sensitive Takeshi under her wing. Double crosses multiply. Those with the closest bonds become each others' murderers.
Good Morning (1959)
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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
Floating Weeds (1959)
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When a theater troupe's master visits his old flame, he unintentionally sets off a chain of unexpected events with devastating consequences. A remake of Ozu's own silent film The Story of Floating Weeds (1934).
Tokyo Twilight (1957)
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Two sisters find out the existence of their long-lost mother, but the younger cannot accept the fact that she was abandoned as a child.
Sayonara (1957)
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Air Force Major Lloyd Gruver (Marlon Brando) is reassigned to a Japanese air base, and is confronted with US racial prejudice against the Japanese people. The issue is compounded because a number of the soldiers become romantically involved with Japanese women, in defiance of US military policy. Ordinarily an officer who is by-the-book, Gruver must take a position when a buddy of his, an enlisted man Joe Kelly (Red Buttons) falls in love with a Japanese woman Katsumi (Miyoshi Umeki) and marries her. Gruver risks his position by serving as best man at the wedding ceremony.
The Teahouse of the August Moon (1957)
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In post-WWII Japan, an American captain is brought in to help build a school, but the locals want a teahouse instead.
Street of Shame (1956)
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The lives of five prostitutes employed at a Japanese brothel while the nation is debating the passage of an anti-prostitution law.
I Will Buy You (1956)
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A talent scout moves sharply, dead-set on signing a promising athlete to the baseball team the Toyko Flowers.
The Thick-Walled Room (1956)
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A group of rank-and-file Japanese soldiers are jailed for crimes against humanity, themselves victims of a nation refusing to bear its burdens as a whole.
I Live in Fear (1955)
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Kiichi Nakajima, an elderly foundry owner, is convinced that Japan will be affected by an imminent nuclear war, and resolves to move his family to safety in Brazil. His family decides to have him ruled incompetent and Dr. Harada, a Domestic Court counselor, attempts to arbitrate.