A Korean man is sentenced to death in Japan but somehow survives his execution, sending the authorities into a panic about what to do next.
Four sexually hungry high school students preparing for their university entrance exams meet up with an inebriated teacher singing bawdy drinking songs. This encounter sets them on a less than academic path.
A sex-obsessed young woman, a suicidal young man she meets on the street, a gun-crazy wannabe gangster—these are just three of the irrational, oddball anarchists trapped in an underground hideaway in Oshima’s devilish, absurdist portrait of what he deemed the “death drive” in Japanese youth culture.
In Tokyo's Shinjuku district, the lives of a young man prone to theft, a young woman he meets at a bookstore, and a kabuki actor intersect.
A family of four lives off of scams in which they pretend to be injured by automobiles. After suffering an injury during the war, the father believes he is an invalid. He and his wife have a 10-year-old boy and another, younger boy. The adults pretend to be injured by autos in crowded traffic, blackmailing the fearful motorists with threats to call in the police.
A metaphysical mystery involving a university student's camera getting stolen, and the thief then committing suicide. Looking back upon the event, the situation comes to be questioned if it happened at all.
Two young women must come to terms with the fact that a man they're deeply linked to is a murdering rapist.
Oshima’s magisterial epic, centering on the ambivalent surviving heir of the Sakurada clan, uses ritual and the microcosm of the traditional family to trace the rise and fall of militaristic Japan across several decades.
A young boy joins a band of ninja during a peasant uprising, all depicted through an experimental form of filming pages from the original manga set to sound.
A corrupt businessman blackmails the lovelorn reprobate Atsushi into watching over his suitcase full of embezzled cash while he serves a jail sentence. Rather than wait for the man to retrieve his money, however, Atsushi decides to spend it all in one libidinous rush—fully expecting to be tracked down and killed.
Sunaoko come to Okinawa to find his brother Tsuruo. Her searching is not very painless because it tears up old wounds in complicated relationships, some of which date back to the horrors of war.
Three students spend their holidays at the seaside where they are mistaken for Koreans, a minority which is looked down on in Japan. The action develops into a crime story.
This ethereal montage of still images with darkly somber undertones, Yunbogi’s Diary is based on photographs that Oshima took during his two-month research trip to South Korea in 1965 during which he was haunted by his encounters with impoverished street children in Seoul. The voice-over comprises diary entries from a six-year-old Korean boy and Oshima’s own reflections on Japanese-Korean relations, a controversial subject that he revisited in his later films Sing a Song of Sex and Death by Hanging.