A traditional bar mistress in Kyoto clashes with her Tokyo rival.

After a random encounter at a bar, two couples collide. Two men, two women, embroiled in a love-and-hate drama that threatens to engulf them. The sexual anxiety between the interwoven couples tautens right up to the nearly unbearable tension of the climax...

1962 Japanese movie

Ichikawa's 1956 adaptation of Nihonbashi was the first to take the work of Kyoka Izumi— until then regarded as a writer of common tragic melodramas—and re-evaluate it as a tanbi-ha work of decadence, aestheticism, and intrigue. Ichikawa's film presents the tragic plot of the young geisha who is unable to enact her love for a man publicly in any way other than a histrionic story of torment, a heart-rending tale of lovers being crushed by fate. Instead, Ichikawa shows the contest of wills that transpires as two geisha, Oko and Kiyoha fight for the top spot in Nihonbashi, the pinnacle of the Tokyo geisha world. Nihonbashi is an elegant, if steely, exposition of manners. The young doctor, Shinzo Katsuragi, is the object of affection for both women, but appears to be more the choice reward for the plotting and thieving of these two early modern superwomen, than a lover they swoon over.

Set in 1926 when Japanese tradition was much stronger, this drama looks at the inner workings of a small family, especially the relationship between a sister and brother.

Tatematsu Minoru, a yakuza belonging to the Ishikawa group that runs the Shinjuku area, has a beautiful sister named Akane. He dreams of sending her to college and turning her into a perfect young lady. He's extremely fond of Akane. His fondness for her goes beyond how he feels about his mistress, Kanae. And yet, Akane feels alone. Now, a new tutor comes into her life that seems to have taken a liking to her...

Yukiko Shiba, a doctor, and Akira Sakai, a composer and musician, are lovers. Their love is a forbidden one. He is married, with children. She is a doctor with a bright career ahead of her.