CHAIN/チェイン

Near the end of the shogunate in Japan, Katsura Shogoro and his fellow samurai from the southwestern domain of Choshu enter the dojo of Saito Yakuro, the famed Shindo Munen Ryu swordsmen of Renpeikan in Edo. Katsura is initially not welcomed by the other, senior dojo followers. Undeterred, he focuses on improving his skill not only in swordsmanship but also learning how to repel the foreign British and American ships that threaten their domain.

A cowardly samurai is sent as an official executioner targeting the clan's former sword instructor, a man whose sword and spear skills are second to none.

Forced on the road by yakuza obligations, a man sets out on a reckless journey to Tsumagoi. Movie posters for local cinemas were often displayed at sento (public baths) too. The handwritten text on the bottom here announces the film will play at Hassen for 3 days.

In 1879, Kenshin and his allies face their strongest enemy yet: his former brother-in-law Enishi Yukishiro and his minions, who've vowed their revenge.

Veteran director Nakajima Sadao examines the appeal, background, context and transition of chambara, or period sword-fighting and samurai films, in Kyoto. Not only interviews with actors, choreographers and critiques are included, but the director orchestrates an original chambara scene for the documentary.

Kakunoshin Yanagida (Tsuyoshi Kusanagi) was a samurai, but he was forced out of the Han due to a false accusation. He then lived in poverty with his daughter Kinu (Kaya Kiyohara). Despite being poor, he never gave up his pride and honor that he held as a samurai. Even when playing the board game Go, which is his hobby, he always plays in a fair manner. Because of a case, the truth behind the false accusation is revealed. Kakunoshin Yanagida is shaken and filled with rage. He decides to take revenge, even if it means he will be torn from his daughter.

When Nizaemon Kumogiri, a major thief quits his job as a thief, he has two more big jobs planned in order to obtain a huge sum of money to enable his many subordinates scattered all over the country to live out the rest of their lives. First, he targets Matsuya, a medicine wholesaler in Nagoya and seduces the master of the shop by using his female subordinate, Nanakake. He then calls upon Sanji, a skilled locksmith to Nagoya, but the bandit Yagura no Fukuemon who is plotting to intercept the thief plots to extract Sanji for a large sum of money. Furthermore, Abe Shikibu, the chief of the firebrand bandit reformatory who is obsessed with Nizaemon's arrest, sends his men to Nagoya.

Set in an old merchant house in Kyoto, the film traces the passing of an era through the story of a parent and child.

After the fall of the Tokugawa Shogunate, there was a series of battles fought while the former supporters of the Tokugawa shogunate retreated to the north where they actually started a sovereign nation that was recognized by more than one European country. Survivors of the Shinsengumi were among the followers of Enomoto Takeaki who took them to the northernmost island of Ezo where they fought their final battle at the star shaped fort, Goryokaku. The Japanese Civil Wars fought in the name of the emperor signaled the complete end of the feudal system and Japan’s entry into the modern world as those brave samurai tried to halt progress and learned that the age of modern warfare and weaponry had passed them by. Swords were no match for rifles and cannons, nor was any man a match for the power of the imperial flag. Japanese loyalty to the emperor has long defined the nation and culture despite the changing times.

A pair of down-on-their-luck swordsmen arrive in a dusty, windblown town, where they become involved in a local clan dispute. One, previously a farmer, longs to become a noble samurai. The other, a former samurai haunted by his past, prefers living anonymously with gangsters. But when both men discover the wrongdoings of the nefarious clan leader, they side with a band of rebels who are under siege at a remote mountain cabin.

Kyoto during the Heian period (the 10th century) in Japan. Tens of thousands dead, gutters filled with corpses, children abandoned in the mountains, and groups of wild dogs vigilantly watching outside the city. The elegant image of the Heian period has been shown in many literary and artistic works. However, Katabuchi's new work takes us back to Kyoto a thousand years ago, when the city was shrouded in darkness due to repeated epidemics of plague.