A young man living on growing tomatoes in a greenhouse in a residential area. Tomato cultivation is as doomed as his personal life where he tries to keep alive his romance with the eccentric Kaede and parents selected fiancee Ayako.

When Koichi Hamanaka returns after his mysterious disappearance years earlier, journalist Asakura who befriended Hamanaka's wife during his absence, tries to piece together the reasons for his departure.

Aspiring to an easy job as personal physician to a wealthy family, Noboru Yasumoto is disappointed when his first post after medical school takes him to a small country clinic under the gruff doctor Red Beard. Yasumoto rebels in numerous ways, but Red Beard proves a wise and patient teacher. He gradually introduces his student to the unglamorous side of the profession, ultimately assigning him to care for a prostitute rescued from a local brothel.

Shigematsu Shizuma, who lives with his family in a village near Fukuyama, was in Hiroshima with his wife and niece just after the devastating atomic bombing, a tragedy that cruelly took the lives of thousands of people and forever marked the harsh existence of the survivors.

Five years after the end of the Second World War, Reikichi, a repatriated veteran, translates love letters for Japanese women to American GIs, while searching for his lost love, Michiko.

Filmed in a documentary style, six patients in six wards of different ages and circumstances await death at a hospital in Japan. The sterile and dismal environment is contrasted against the emotional being of the patients, their visitors and relatives and the outside world, which they will never again survey.

Eight visually rich vignettes drawn from Kurosawa’s own dreams—fox weddings and vanished orchards, a soldier’s ghosts, a walk through Van Gogh’s canvases, nuclear nightmares, and a water-mill utopia—meditate on childhood, art, mortality, and humanity’s uneasy bond with nature.

This film stays very faithful to the original down to the smallest details, save for the kangaroo-rat that suddenly appears twenty minutes into the movie and subsequently follows Aladdin around, serving no purpose in the story but fulfilling the role of token animal mascot. The story takes some illogical and confusing jumps at the point where Aladdin begins to court the princess, and the extravagant animation that had characterised Toei films of the 60s, when Toei had the best animators around, had become a thing of the past long before this point; but this is still an above-average film, in large part because of the screenplay that stays so faithful to the original. The character designs are slightly more western-looking than one is accustomed to seeing in anime.

1959 Japanese movie