17 Best Movies From Japan On Criterionchannel

Staff & contributors

, 1997

Cure is about a mad society, where both cure and sickness might be one and the same. Director Kiyoshi Kurosawa subverts the police procedural into an interrogation without definite answers, an abstract study on the evil that resides and is suppressed in every person’s heart. Unlike most horror films, Cure’s scares are left in plain sight, hypnotically mesmerizing as they are gruesome, with a sense of mundanity associated with other Japanese masters like Ozu or Kore-eda. “At the time it just seemed the right thing to do,” a man answers when asked why he killed his wife, and it is this contradictorily calm, nonchalant demeanor that creates a feeling of unease in the film’s horror aesthetic.

Genre: Crime, Drama, Horror, Mystery, Thriller

Actor: Akira Otaka, Anna Nakagawa, Denden, Hajime Tanimoto, Kōji Yakusho, Makoto Kakeda, Makoto Togashi, Masahiro Toda, Masato Hagiwara, Misayo Haruki, Ren Osugi, Shôgo Suzuki, Shun Nakayama, Taijirō Tamura, Takeshi Mikami, Taro Suwa, Tsuyoshi Ujiki, Yoriko Dōguchi, Yukijiro Hotaru

Director: Kiyoshi Kurosawa

, 2000

Edward Yang’s masterful and lush Yi Yi follows the lives of the Jian family and their respective, middle-class worries. The father agonizes over a business deal and, at the back of his mind, an old flame. The mother struggles with emptiness, the daughter with sensuality, and the son with his burgeoning artistry. In the periphery are other family members trying to get by as best they can despite having no certain future to look forward to. The story, which is bookended with life and death, is punctuated with these lingering anxieties but also, crucially, with moments of potent, profound joys. 

The premise seems simple, but Yang weaves a breathtaking epic out of the mundane. The mise-en-scene is immersive, the dialogue delicate, and the direction effectively real. The understated elegance of each piece coming together to build a rich whole is what makes YiYi Yang’s legacy to the world of cinema.

Genre: Drama, Family, Romance

Actor: Adriene Lin, An-an Hsu, Chen Yiwen, Cheryl Yang, Danny Deng, Edward Yang, Elaine Jin, Hsi-Sheng Chen, Hsu Kuei-ying, Hsu Shu-Yuan, Issey Ogata, Jerry Sun, Jonathan Chang, Kai-Li Peng, Kate Yeung, Kelly Ko, Kelly Lee, Kenjiro Tsuda, Lawrence Ko, Leon Dai, Liang-Tso Liu, Luo Bei An, Ru-Yun Tang, Sharon Mao, Shau-Ching Sung, Shu-shen Hsiao, Shu-Yuan Hsu, Tang Ru-Yun, Tang Tsung Sheng, Tao Chuang Cheng, Wang Chi-tsan, Wu Nien-Jen, Yi-Wen Chen

Director: Edward Yang

While billed as a “ramen western”, Tampopo satirizes plenty of other American genres, including, but not limited to: 1) the inspirational sports film, with Tampopo’s diligent training, 2) the erotic, arthouse drama through its egg yolk kiss, 3) the witty, social comedy pointing out the absurd in dinnertime tables, and 4) the melodramatic mafia romance with its room-serviced hotel getaway. But the film doesn’t buckle under the weight of carrying all these genres– instead, the customer vignettes are all delicately plated to balance out the hearty journey of a store owner learning about ramen and the bemused, yet cohesive contemplation about food. Tampopo is one of a kind.

Genre: Comedy

Actor: Akio Tanaka, Chōei Takahashi, Fukumi Kuroda, Hideji Ōtaki, Hisashi Igawa, Hitoshi Takagi, Hyōe Enoki, Isao Hashizume, Izumi Hara, Ken Watanabe, Kinzō Sakura, Kōji Yakusho, Mariko Okada, Masahiko Tsugawa, Nobuko Miyamoto, Nobuo Nakamura, Rikiya Yasuoka, Ryutaro Otomo, Toshiya Fujita, Tsutomu Yamazaki, Yoriko Dōguchi, Yoshi Katō, Zenpaku Kato

Director: Jūzō Itami

Rating: NR

Koreeda is a master of the tender gaze. He deals so softly, elegantly, and emphatically with the characters in his films, it will make you feel like you're watching life itself in all its complex, emotional splendor. Maybe this is particularly true for this movie because it has been inspired by Koreeda's memories of his own childhood and the passing of his mother. Still Walking is a quietly toned movie spanning a period of 24 hours in the life of the Yokoyama family, as they gather to commemorate the passing of their eldest son. At the center of the story is the father, an emotionally distant man who commands respect both from his family and community. Opposite from him sits the other son, the black sheep, who seeks his father's validation. Directed, written, and edited by Koreeda, this dynamic is one of many in this slice-of-life movie about how families deal with loss. And, however distant the culture or setting in Japan may seem to the outsider, you're bound to recognize either yourself or your family among the tender scenes of this masterful drama.

Genre: Drama, Family

Actor: Haruko Kato, Hiroshi Abe, Hotaru Nomoto, Kazuya Takahashi, Kirin Kiki, Ryoga Hayashi, Shohei Tanaka, Susumu Terajima, Yoshio Harada, You, Yui Natsukawa

Director: Hirokazu Kore-eda, Hirokazu Koreeda

Rating: Not Rated

From Drive My Car director Ryusuke Hamaguchi comes another film featuring long drives, thoughtful talks, and unexpected twists. An anthology of three short stories, Wheel of Fortune and Fantasy ponders over ideas of love, fate, and the all-too-vexing question, “what if?” 

What if you didn’t run away from the one you love? What if you didn’t give in to lust that fateful day? What if, right then and there, you decide to finally forgive?

Big questions, but without sacrificing depth, Hamaguchi does the incredible task of making every single second feel light and meaningful. Wheel of Fortune and Fantasy will leave you with mixed emotions: excited, startled, dejected, hopeful. But one thing you won’t feel is regret over watching this instant classic of a film.

Genre: Drama, Romance

Actor: Aoba Kawai, Aoba Kawai 河井清叶, Ayumu Nakajima, Fusako Urabe, Hitoshi Omika, Hyunri, Katsuki Mori, Kiyohiko Shibukawa, Kotone Furukawa, Shouma Kai

Director: Ryusuke Hamaguchi

Rating: R-13

In Drive My Car, a widowed artist travels to Hiroshima for his latest production. There he meets a young woman enlisted to drive him around the area. They forge an unexpected bond and soon share pithy observations and long-buried secrets, which culminate in a touching scene of catharsis and forgiveness.

Not a lot is said in this three-hour film, but when words (and signals) are shared, they are always underlaid with simple but transcendent truths. Drive My Car is a gripping film that explores love and loss in its own quiet way, at once intense and intimate.

Genre: Drama

Actor: Ahn Hwi-tae, Ahn Hwitae, Hidetoshi Nishijima, Hiroko Matsuda, Jin Dae-yeon, Masaki Okada, Park Yu-rim, Perry Dizon, Reika Kirishima, Ryo Iwase, Satoko Abe, Shoichiro Tanigawa, Sonia Yuan, Toko Miura, Toshiaki Inomata

Director: Ryusuke Hamaguchi

Rating: Unrated

Director Jim Jarmusch audaciously combined the DNA of French noir classics with that of samurai and mafia movies to produce this utterly original film. As advised by the ancient Japanese manual it often quotes, though, Jarmusch’s movie also “makes the best” out of its own generation by adding hip-hop into its wry genre blend. The results are more than the sum of their parts, especially because the film is so eccentric: no matter how au fait with its inspirations you are, you still won’t see “Forest Whitaker plays a lonely hitman who wields and whooshes his silencer pistol like a samurai sword, lovingly tends pigeons, and can’t even speak the same language as his best friend” coming.

Ghost Dog’s strangeness is never jarring, though, thanks to Whitaker’s cool, collected performance, an atmospheric score by Wu-Tang Clan's RZA, and the cinematography’s tendency to use smooth double exposures for scene transitions. It almost feels like we’re in another world: Jarmusch zooms in on the Bushido code obsessions of Whitaker’s single-minded character and the mafiosos’ dying laws, blurring out everything else so the movie becomes a meditation on the impulse to moralize one’s misdoings by subscribing to rigid definitions of “honor.” Not an exercise in surface style, then, but a bone-deep reflective masterpiece.

Genre: Crime, Drama

Actor: Alfred Nittoli, Angel Caban, Camille Winbush, Chuck Jeffreys, Clebert Ford, Cliff Gorman, Damon Whitaker, Forest Whitaker, Frank Adonis, Frank Minucci, Gano Grills, Gary Farmer, Gene Ruffini, Henry Silva, Isaach De Bankolé, Jamie Hector, John Tormey, Jonathan Teague Cook, José Rabelo, Joseph Rigano, Renee Bluestone, Richard Portnow, Roberto Lopez, RZA, Sharon Angela, Tracy Howe, Tricia Vessey, Victor Argo, Vince Viverito, Vinny Vella

Director: Jim Jarmusch

Rating: R

The tragic irony of war — that, if battling soldiers had been born in any other time or place, they may well have been friends with each other — takes center stage in this brilliant drama set in WWII-era Java. It's a theme best encapsulated by Captain Yonoi (Ryuichi Sakamoto in his film debut), the bushido code-following commandant of a Japanese POW camp: “How wonderful it would have been if we could have invited all of you to a gathering under our cherry trees,” he muses to the titular British Lieutenant Lawrence (Tom Conti), one of his prisoners.

Lawrence is the camp’s mediator, and not just because he’s fluent in Japanese; in the culture clash microcosm that is the camp, he is uniquely understanding of his captors’ way of life. That earns him special privileges of sorts from the camp’s often brutal enforcer (Takeshi Kitano), but this pales in comparison to the instant partiality with which the charismatic Major Jack Celliers (David Bowie) enjoys, courtesy of a smitten yet deeply repressed and tormented Yonoi. This psychosexual undercurrent bubbles furiously throughout Merry Christmas, Mr. Lawrence, deepening its (already poignant) lamentations about war’s humanity-stripping effect and the self-imposed prisons that are honor and shame.

Genre: Drama, History, War

Actor: Alistair Browning, Arthur Ranford, Colin Francis, Daisuke Iijima, David Bowie, Grant Bridger, Hideo Murota, Hiroshi Mikami, Jack Thompson, Johnny Ohkura, Kan Mikami, Rokkō Toura, Ryuichi Sakamoto, Ryūnosuke Kaneda, Takashi Naito, Takeshi Kitano, Tamio Ishikura, Tom Conti, Yūji Honma, Yūya Uchida

Director: Nagisa Ōshima

Rating: R

Directed by Kim Longinotto and Jano Williams, this documentary combines intimate interviews, fly-on-the-wall observation, and striking cinematography to present a compelling glimpse into the lives of three transgender individuals working as hosts in Tokyo's bustling Shinjuku district. With unprecedented access to the subjects' lives, the documentary delves deep into their emotional journeys, capturing their hopes, fears, and aspirations surrounding identity, gender, and societal acceptance.  An eye-opening documentary that wastes none of its 53-minute runtime, Shinjuku Boys challenges preconceived notions and invites viewers to empathize with individuals navigating a world that often marginalizes them. 

Genre: Documentary, Drama

Director: Jano Williams, Kim Longinotto

Asako is in love with Baku—deeply and almost delusionally, in a way that can only manifest in young love. But when the freewheeling Baku ghosts Asako for good, she moves from Osaka all the way to Tokyo to start a new life. Years later, she's startled to meet Baku's doppelganger in Ryohei, an office man whose solid dependability and lack of artfulness, while endearing, could not place him any further from Baku. Confused and lonely, Asako tiptoes around her feelings for Ryohei and, in the process, raises thought-provoking questions about the meaning, ethics, and true purpose of love.

 

Genre: Drama, Romance

Actor: Ariei Umefune, Atsushi Kaneshige, Daichi Watanabe, Erika Karata, Fusako Urabe, Koji Nakamoto, Koji Seto, Maki Nishiyama, Masahiro Higashide, Misako Tanaka, Nao Okabe, Rio Yamashita, Ryotaro Yonemura, Sairi Ito, Takeshi Ōnishi

Director: Ryusuke Hamaguchi

Rating: Not Rated

An absolute delight of a gem starring a young Winona Ryder as well as an amazing cast. Arguably Jim Jarmusch's best film, it tells the story of 5 different places at night from the perspective of cab drivers and their passengers: Los Angeles, New York, Paris, Rome, and Helsinki. It's really hard to pick a favorite among the stories, from a messy tomboy having to deal with a busy businesswoman, to a blind woman in Paris making a frustrated driver from Ivory Coast go insane. But look out for Helmut and Yo-Yo, from the New York story. I've rarely seen anything in film as fun as their story.

Genre: Comedy, Drama

Actor: Armin Mueller-Stahl, Béatrice Dalle, Eija Vilpas, Emile Abossolo M'bo, Gena Rowlands, Giancarlo Esposito, Gianni Schettini, Isaach De Bankolé, Jaakko Talaskivi, Kari Väänänen, Klaus Heydemann, Lisanne Falk, Matti Pellonpää, Paolo Bonacelli, Pascal N'Zonzi, Richard Boes, Roberto Benigni, Romolo Di Biasi, Rosie Perez, Sakari Kuosmanen, Stéphane Boucher, Tomi Salmela, Winona Ryder

Director: Jim Jarmusch

Rating: R

Shattering the rules for how a biographical drama can look and be told, Paul Schrader's Mishima rejects the usual character study template in favor of a much more abstract attempt to understand a person through their art. Told in fragments that flit between Mishima's early life, dramatizations of his fiction novels, and the final day of his life, the film pieces together what it believes was the core of this person's life. Schrader's script (co-written with his brother Leonard Schrader) traces within Mishima's history a lifelong struggle with perceptions of his own masculinity and authority—as if he spent his every waking moment trying to compensate for a lack that he could hardly articulate. The character's eventual turn towards reactionary beliefs makes logical sense in the film, but remains baffling all the same.

With all of its talk about beauty—enhanced by Philip Glass' opulent musical score, and Eiko Ishioka's breathtaking production design that transforms Mishima's novels into tactile stage productions—the film conceals an incredibly dark heart. Mishima doesn't inspire sympathy so much as he inspires morbid fascination, and it's both a daring and frustrating choice to focus entirely on the character's harmful delusions without room for much else. Still, Schrader has constructed an unforgettable audiovisual experience that lingers long after it's over.

Genre: Drama, History

Actor: Alan Poul, Bandō Mitsugorō X, Chishū Ryū, Eimei Esumi, Go Riju, Haruko Kato, Hideo Fukuhara, Hiroshi Katsuno, Hiroshi Mikami, Hisako Manda, Jun Negami, Junkichi Orimoto, Ken Ogata, Kenji Sawada, Koichi Sato, Kunihiko Ida, Masahiko Sakata, Masato Aizawa, Masayuki Shionoya, Miki Takakura, Minoru Hodaka, Mitsuru Hirata, Naoko Ohtani, Naomi Oki, Naoya Makoto, Reisen Ri, Roy Scheider, Ryō Ikebe, Sachiko Hidari, Setsuko Karasuma, Toshiyuki Nagashima, Yasuaki Kurata, Yasuhiro Arai, Yuki Kitazume

Director: Paul Schrader

Rating: R

While it would be easy to make comparisons to The Good Place and other shows and films dealing with the afterlife, Hirokazu Kore-eda's film is devoted to a single thing: commemorating the ordinary moments that make our life precious. Through little more than workplace banter and documentary-style interviews (with an ensemble delivering uncannily naturalistic performances), After Life reminds us how beautiful the mundane can be and how important it is for us to be present for each other in the everyday. And as the fim's characters prepare to create reenactments of each person's most precious memory, Kore-eda also defines filmmaking itself as an act of comfort and empathy. No existential crises here; an overwhelming sense of peace floods After Life, making it all the more memorable.

Genre: Drama, Fantasy

Actor: Akio Yokoyama, Arata Iura, Erika Oda, Hisako Hara, Kazuko Shirakawa, Kei Tani, Kotaro Shiga, Kyōko Kagawa, Miyako Yamaguchi, Natsuo Ishido, Sadawo Abe, Sayaka Yoshino, Susumu Terajima, Tae Kimura, Takashi Naito, Taketoshi Naitô, Tōru Yuri, Yûsuke Iseya

Director: Hirokazu Kore-eda

Written like a stage play, directed like the viewer is a fly on the wall, and shot with a love for deep shadows and warm candlelight, Flowers of Shanghai is about as immersive a chamber drama as one could ask for. Having most of the "action" take place off screen, director Hou Hsiao-hsien draws our eye instead to how his characters (including one played by an exceptionally stoic Tony Leung) continue to negotiate for their own freedom against patriarchal norms, pushing against cultural notions of proper decorum. It's a film brimming with repressed emotion, but without ever raising its voice. The vibes, as the kids say, are immaculate.

Genre: Drama

Actor: Annie Shizuka Inoh, Carina Lau, Jack Kao, Michelle Reis, Michiko Hada, Moon Wang, Pauline Chan, Rebecca Pan, Stephanie Fong Shuan, Tony Leung Chiu-Wai, Vicky Wei

Director: Hou Hsiao-hsien

Even if you aren't familiar with Akira Kurosawa classics like Rashomon and Seven Samurai, Madadayo works as a portrait of a great man who seemed to feel nothing at the end of his career other than gratitude. Made up of long, wholesome conversations between real-life Japanese academic Hyakken Uchida (Tatsuo Matsumura) and his former students, the film finds plenty of wisdom in observing the little things. And as hard as his students try to make sure Uchida's twilight years are as comfortable as possible, there's still something elusive about this man overwhelmed by all the good and bad fortune in his life.

Genre: Comedy, Drama

Actor: Akira Terao, Asei Kobayashi, Eiji Bandô, George Tokoro, Hidetaka Yoshioka, Hisashi Igawa, Kazuhiko Kasai, Kinzō Sakura, Kōjirō Kusanagi, Kyōko Kagawa, Masahiko Tanimura, Masayuki Yui, Masuo Amada, Mie Suzuki, Minoru Hirano, Mitsuru Hirata, Nobuto Okamoto, Noriko Honma, Norio Matsui, Shigeo Katô, Shû Nakajima, Takao Zushi, Takeshi Kusaka, Tatsuo Matsumura, Tetsu Watanabe, Tetsuya Ito, Tomoko Ôtakara, Toshihiko Nakano, Yoshitaka Zushi

Director: Akira Kurosawa