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Release: April 28, 2026

$7.99

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Kinuyo Tanaka was already one of Japan’s greatest actors—celebrated for her collaborations with auteurs such as Kenji Mizoguchi, Yasujiro Ozu, and Mikio Naruse—when she took a brave leap by embarking on a directing career in a studio system that actively discouraged female filmmakers. The six features she made over the course of a decade center on women characters who refuse to conform to restrictive roles as they seek independence. With compassion and insight, Tanaka critiques the social conditions and forces that shape her heroines’ struggles: sex work and social shaming, the expectation of passively entering arranged marriages, taboos surrounding illness and the female body, imperialism, and religious persecution and forbidden love. INCLUDES The films: Love Letter, The Moon Has Risen, Forever a Woman, The Wandering Princess, Girls of the Night, and Love Under the Crucifix PLUS: An essay by critic Imogen Sara Smith LOVE LETTER Released a year after the American occupation of Japan ended, Kinuyo Tanaka’s directorial debut explores the professional and personal conflicts of Reikichi (Masayuki Mori), a repatriated veteran who searches for his lost love (Yoshiko Kuga) while translating romantic letters from Japanese women to American GIs. Adapted from a novel by Fumio Niwa, Love Letter depicts with incisive complexity Japanese soldiers struggling to adapt to a changed society, as well as the moral condemnation of Japanese women who became involved with the enemy. THE MOON HAS RISEN For her second film, Kinuyo Tanaka directed a script by legendary filmmaker Yasujiro Ozu, one of her mentors. Though informed by Ozu’s singular take on familial relationships, The Moon Has Risen also possesses Tanaka’s lively and elegant comic sensibility in its portrait of a widower (Chishu Ryu) who lives with his three daughters (Hisako Yamane, Yoko Sugi, and Mie Kitahara). Kitahara shines as the spirited youngest sister, whose matchmaking schemes force the family to confront—with amusing bewilderment—Japanese society’s rapidly evolving mores. FOREVER A WOMAN Generally regarded as Kinuyo Tanaka’s masterpiece, as well as her first personal film, Forever a Woman tells the story of a recent divorcée (Yumeji Tsukioka) who is diagnosed with late-stage breast cancer. In adapting the real-life story of poet Fumiko Nakajo, Tanaka and screenwriter Sumie Tanaka (a longtime collaborator of Mikio Naruse’s, though of no familial relation to Kinuyo) investigate issues of mortality, sexuality, and female independence with a frankness and audacity unprecedented in postwar Japanese cinema. THE WANDERING PRINCESS Kinuyo Tanaka’s first film in both color and CinemaScope is an epic about a woman caught in the torrents of history. Based on the memoirs of Hiro Saga, The Wandering Princess tells the story of Ryuko (Machiko Kyo), an aristocrat who, at the outset of World War II, enters an arranged marriage with Futetsu (Eiji Funakoshi), the younger brother of a soon-to-be-deposed monarch. With the story of Ryuko’s enmeshment in the Japanese colonization of Manchuria, Tanaka realizes with startling depth her ambition to relate a historical saga from a critical female perspective. GIRLS OF THE NIGHT With Girls of the Night, Kinuyo Tanaka reunited with screenwriter Sumie Tanaka to explore Japan’s attempted reformation of former sex workers. The film follows Kuniko (Chisako Hara), who enters a rehabilitation center after the Prostitution Prevention Law prohibits her line of work. But creating a new life proves treacherous—wherever Kuniko goes, the past catches up with her. In once again taking on challenging subject matter, Kinuyo Tanaka paints an empathetic portrait of a fragile community of outcasts. LOVE UNDER THE CRUCIFIX Kinuyo Tanaka’s final work as a director is a large-scale, sixteenth-century-set costume drama in the style of the golden age of Japanese cinema. Produced by the independent production company Ninjin Kurabu, Love Under the Crucifix centers on the forbidden romance between Ogin (Ineko Arima), daughter of a famous tea master, and Ukon (Tatsuya Nakadai), a married samurai. The ruling power’s prohibition of Ukon’s Christian faith forces the lovers to fight against the prejudices of an oppressive society while finding their way to mutual devotion.

Release: April 28, 2026

$7.99

Description

Kinuyo Tanaka was already one of Japan’s greatest actors—celebrated for her collaborations with auteurs such as Kenji Mizoguchi, Yasujiro Ozu, and Mikio Naruse—when she took a brave leap by embarking on a directing career in a studio system that actively discouraged female filmmakers. The six features she made over the course of a decade center on women characters who refuse to conform to restrictive roles as they seek independence. With compassion and insight, Tanaka critiques the social conditions and forces that shape her heroines’ struggles: sex work and social shaming, the expectation of passively entering arranged marriages, taboos surrounding illness and the female body, imperialism, and religious persecution and forbidden love. INCLUDES The films: Love Letter, The Moon Has Risen, Forever a Woman, The Wandering Princess, Girls of the Night, and Love Under the Crucifix PLUS: An essay by critic Imogen Sara Smith LOVE LETTER Released a year after the American occupation of Japan ended, Kinuyo Tanaka’s directorial debut explores the professional and personal conflicts of Reikichi (Masayuki Mori), a repatriated veteran who searches for his lost love (Yoshiko Kuga) while translating romantic letters from Japanese women to American GIs. Adapted from a novel by Fumio Niwa, Love Letter depicts with incisive complexity Japanese soldiers struggling to adapt to a changed society, as well as the moral condemnation of Japanese women who became involved with the enemy. THE MOON HAS RISEN For her second film, Kinuyo Tanaka directed a script by legendary filmmaker Yasujiro Ozu, one of her mentors. Though informed by Ozu’s singular take on familial relationships, The Moon Has Risen also possesses Tanaka’s lively and elegant comic sensibility in its portrait of a widower (Chishu Ryu) who lives with his three daughters (Hisako Yamane, Yoko Sugi, and Mie Kitahara). Kitahara shines as the spirited youngest sister, whose matchmaking schemes force the family to confront—with amusing bewilderment—Japanese society’s rapidly evolving mores. FOREVER A WOMAN Generally regarded as Kinuyo Tanaka’s masterpiece, as well as her first personal film, Forever a Woman tells the story of a recent divorcée (Yumeji Tsukioka) who is diagnosed with late-stage breast cancer. In adapting the real-life story of poet Fumiko Nakajo, Tanaka and screenwriter Sumie Tanaka (a longtime collaborator of Mikio Naruse’s, though of no familial relation to Kinuyo) investigate issues of mortality, sexuality, and female independence with a frankness and audacity unprecedented in postwar Japanese cinema. THE WANDERING PRINCESS Kinuyo Tanaka’s first film in both color and CinemaScope is an epic about a woman caught in the torrents of history. Based on the memoirs of Hiro Saga, The Wandering Princess tells the story of Ryuko (Machiko Kyo), an aristocrat who, at the outset of World War II, enters an arranged marriage with Futetsu (Eiji Funakoshi), the younger brother of a soon-to-be-deposed monarch. With the story of Ryuko’s enmeshment in the Japanese colonization of Manchuria, Tanaka realizes with startling depth her ambition to relate a historical saga from a critical female perspective. GIRLS OF THE NIGHT With Girls of the Night, Kinuyo Tanaka reunited with screenwriter Sumie Tanaka to explore Japan’s attempted reformation of former sex workers. The film follows Kuniko (Chisako Hara), who enters a rehabilitation center after the Prostitution Prevention Law prohibits her line of work. But creating a new life proves treacherous—wherever Kuniko goes, the past catches up with her. In once again taking on challenging subject matter, Kinuyo Tanaka paints an empathetic portrait of a fragile community of outcasts. LOVE UNDER THE CRUCIFIX Kinuyo Tanaka’s final work as a director is a large-scale, sixteenth-century-set costume drama in the style of the golden age of Japanese cinema. Produced by the independent production company Ninjin Kurabu, Love Under the Crucifix centers on the forbidden romance between Ogin (Ineko Arima), daughter of a famous tea master, and Ukon (Tatsuya Nakadai), a married samurai. The ruling power’s prohibition of Ukon’s Christian faith forces the lovers to fight against the prejudices of an oppressive society while finding their way to mutual devotion.

Release: April 28, 2026

$7.99

Description

Kinuyo Tanaka was already one of Japan’s greatest actors—celebrated for her collaborations with auteurs such as Kenji Mizoguchi, Yasujiro Ozu, and Mikio Naruse—when she took a brave leap by embarking on a directing career in a studio system that actively discouraged female filmmakers. The six features she made over the course of a decade center on women characters who refuse to conform to restrictive roles as they seek independence. With compassion and insight, Tanaka critiques the social conditions and forces that shape her heroines’ struggles: sex work and social shaming, the expectation of passively entering arranged marriages, taboos surrounding illness and the female body, imperialism, and religious persecution and forbidden love. INCLUDES The films: Love Letter, The Moon Has Risen, Forever a Woman, The Wandering Princess, Girls of the Night, and Love Under the Crucifix PLUS: An essay by critic Imogen Sara Smith LOVE LETTER Released a year after the American occupation of Japan ended, Kinuyo Tanaka’s directorial debut explores the professional and personal conflicts of Reikichi (Masayuki Mori), a repatriated veteran who searches for his lost love (Yoshiko Kuga) while translating romantic letters from Japanese women to American GIs. Adapted from a novel by Fumio Niwa, Love Letter depicts with incisive complexity Japanese soldiers struggling to adapt to a changed society, as well as the moral condemnation of Japanese women who became involved with the enemy. THE MOON HAS RISEN For her second film, Kinuyo Tanaka directed a script by legendary filmmaker Yasujiro Ozu, one of her mentors. Though informed by Ozu’s singular take on familial relationships, The Moon Has Risen also possesses Tanaka’s lively and elegant comic sensibility in its portrait of a widower (Chishu Ryu) who lives with his three daughters (Hisako Yamane, Yoko Sugi, and Mie Kitahara). Kitahara shines as the spirited youngest sister, whose matchmaking schemes force the family to confront—with amusing bewilderment—Japanese society’s rapidly evolving mores. FOREVER A WOMAN Generally regarded as Kinuyo Tanaka’s masterpiece, as well as her first personal film, Forever a Woman tells the story of a recent divorcée (Yumeji Tsukioka) who is diagnosed with late-stage breast cancer. In adapting the real-life story of poet Fumiko Nakajo, Tanaka and screenwriter Sumie Tanaka (a longtime collaborator of Mikio Naruse’s, though of no familial relation to Kinuyo) investigate issues of mortality, sexuality, and female independence with a frankness and audacity unprecedented in postwar Japanese cinema. THE WANDERING PRINCESS Kinuyo Tanaka’s first film in both color and CinemaScope is an epic about a woman caught in the torrents of history. Based on the memoirs of Hiro Saga, The Wandering Princess tells the story of Ryuko (Machiko Kyo), an aristocrat who, at the outset of World War II, enters an arranged marriage with Futetsu (Eiji Funakoshi), the younger brother of a soon-to-be-deposed monarch. With the story of Ryuko’s enmeshment in the Japanese colonization of Manchuria, Tanaka realizes with startling depth her ambition to relate a historical saga from a critical female perspective. GIRLS OF THE NIGHT With Girls of the Night, Kinuyo Tanaka reunited with screenwriter Sumie Tanaka to explore Japan’s attempted reformation of former sex workers. The film follows Kuniko (Chisako Hara), who enters a rehabilitation center after the Prostitution Prevention Law prohibits her line of work. But creating a new life proves treacherous—wherever Kuniko goes, the past catches up with her. In once again taking on challenging subject matter, Kinuyo Tanaka paints an empathetic portrait of a fragile community of outcasts. LOVE UNDER THE CRUCIFIX Kinuyo Tanaka’s final work as a director is a large-scale, sixteenth-century-set costume drama in the style of the golden age of Japanese cinema. Produced by the independent production company Ninjin Kurabu, Love Under the Crucifix centers on the forbidden romance between Ogin (Ineko Arima), daughter of a famous tea master, and Ukon (Tatsuya Nakadai), a married samurai. The ruling power’s prohibition of Ukon’s Christian faith forces the lovers to fight against the prejudices of an oppressive society while finding their way to mutual devotion.

$7.99

Description

After a family is torn apart, two children are sold into slavery under a cruel bailiff in one of cinema's great humanist tragedies.

Release: June 6, 2017

$7.99

Description

Having refined his craft in the silent era, Kenji Mizoguchi was an elder statesman of Japanese cinema fiercely revered by Akira Kurosawa and other younger directors by the time he made Ugetsu. And with this exquisite ghost story, a fatalistic wartime tragedy derived from stories by Akinari Ueda and Guy de Maupassant, he created a touchstone of his art, his long takes and sweeping camera guiding the viewer through a delirious narrative about two villagers whose pursuit of fame and fortune leads them far astray from their loyal wives. Moving between the terrestrial and the otherworldly, Ugetsu reveals essential truths about the ravages of war, the plight of women, and the pride of men. BLU-RAY SPECIAL EDITION FEATURES -New 4K digital restoration undertaken by The Film Foundation, with uncompressed monaural soundtrack -Audio commentary by filmmaker, critic, and festival programmer Tony Rayns -Kenji Mizoguchi: The Life of a Film Director (1975), a 150-minute documentary by Kaneto Shindo -Two Worlds Intertwined, a 2005 appreciation of Ugetsu by filmmaker Masahiro Shinoda -Process and Production, a 2005 interview with Tokuzo Tanaka, first assistant director on Ugetsu -Interview from 1992 with cinematographer Kazuo Miyagawa -Trailers -An essay by film critic Phillip Lopate and three short stories that influenced Mizoguchi in making the film