In his first work Oshima already demonstrates his interest in the people abandoned in the wake of Japan´s “economic miracle” seen through the story of Masao, a young boy with no choice but to support his sick mother and mentally-ill sister.
One of Oshima's early works, a false promotional trailer shot by the director before taking the jump to full-length films.
A powerful generational portrait of two “angry” Japanese youngsters in the 60 built around the stormy relationship between the unscrupulous Kiyoshi and the pretty Makoto, who helps him to blackmail the older men who make sexual propositions to her.
A chronicle of life in the dregs of the Osaka underworld, a claustrophobic social frieze revolving around a prostitute who runs a sordid business: trafficking in the blood of people who are obliged to sell it to survive.
Oshima´s first obviously political film describes the tension in the ranks of the Zinkyoto, the left-wing Japanese student movement. A work of surprising visual style reflecting the ideological disillusionment of an entire generation.
Adaptation of a novel by Kenzaburo Oé set in World War II: an Afro-American pilot is captured by the inhabitants of a small village. The situation is used by Oshima to depict yet another unrelenting X-ray of Japanese society.
Inroads by Oshima to historic films through the tale of Christian rebel Shiro Amakusa, who led the peasants´ campaign against the Shogunate in the 17th century. The director draws on the past to construct a metaphor on the present and the political repressions of the 60s.
A thriller-like film, asphyxiating and melancholy, where a man who has committed a murder is blackmailed by another who witnessed the crime. A journey through the labyrinths of prostitution and pornography, hosted by the Yakuza.
A short filmed in South Korea in which Oshima narrates the life of Yunbogi, a boy from the Taegu city slums who has to do all sorts of jobs to feed his siblings.
A new study by Oshima of the sexuality and violence that mark Japanese society: the portrayal of a rapist and killer of women constructed thanks to the memories of his wife and one of his victims. One of the director’s most tense and astounding works.
A surprising contribution by Oshima to animation cinema taking a popular manga by Sampei Shirato to the screen. An experimental work depicting a completely different way of understanding animated film.
Oshima follows the odyssey of four college students obsessed by sex and obscene songs. A tragicomic fantasy, delirious and grotesque, on his recurring themes: repressed desire and the complex relations between sexes.
The Japanese tradition of shinju (or the double suicide of two lovers) is taken up again by Oshima in one of his most enigmatic works. The artistic vanguards of the period join hands in a fatalistic, tragic film of refined aesthetics.
A dark satire following the Kafkaesque ups and downs of a Korean man condemned to death who survives hanging. Based on a true story, the film demonstrates the extent to which Oshima cleverly drew on the teachings of modern European cinema.
A courageous denunciation of the xenophobia congenital to Japanese society: three students go on holiday to a coastal village, where they are mistaken for Koreans, an ethnic minority particularly unpopular with the locals.
The adventures of a book thief in the Japanese district of Shinjuku give the basis to a film-collage taking its inspiration from experimental theatre and analysing the secret connection between sexuality and political activism.
A sordid true story once again provides Oshima with inspiration for one of his most direct and striking discourses on social corruption: a boy is repeatedly used by his parents as a false traffic accident victim so that they can claim compensation.
An independent production shot by Oshima with non-professional actors, in complete underground film spirit and aesthetics akin to the documentary. An audacious testimony of the Japanese counterculture of the time.
The most venerated Japanese traditions are laid bare in this sharp satire using a wedding ceremony to highlight the tensions underlying social facades.
Set on Okinawa Island, a bittersweet tale of how a young generation is obliged to live with the undercurrent of a traumatic past: World War II and the Japanese occupation.
The film for which Oshima earned worldwide fame and marked a new era in the way sexuality was portrayed in cinema. The true story of Sada Abe, the woman who killed and castrated her lover, became in Oshima’s hands an out-and-out declaration of principles on the subversive power of sex.
Oshima takes the tradition of kaidan-eiga (ghost stories), so widespread in Japanese cinema, to construct this beautiful film on a passionate and tragic love affair that defies social taboos.
An international co-production on which Oshima worked with big-name stars like David Bowie, Ryuichi Sakamoto and Takeshi Kitano. What at first seems to be a traditional war film turns into yet another of the director’s explorations of the chasms of desire.
Oshima takes another step forward in his constant quest to test the limits and taboos that condition sexual relations. Charlotte Rampling plays a married, middle-class woman who has an affair with a rather surprising lover: a chimpanzee.
A documentary used by Oshima to draw a portrait of his mother and the city of her birth, Kyoto. Old photographs, paintings and engravings, plus some of his own footage compose a fresco of the city of temples, the ancient capital of Japan.
Produced by the British Film Institute, this documentary takes a look at 100 years in the history of Japanese cinema guided by one of its central characters, Nagisa Oshima.
In his last film Oshima proposes a synthesis of the subjects to have obsessed him throughout his filmography. Here samurai cinema is portrayed from a very unusual angle: homosexual relations in its closed world.