19世纪末，传教士、探矿家和骗子在美国西部一个偏僻的小火车站等车。闲谈中他们讲起了最近发生的一桩著名的杀人案。声名狼藉的匪徒绢·卡拉斯被法庭宣判处以绞刑，因为他强奸了一名上校的妻子，还杀死了上校。这个案件扑朔迷离，当事人的说法都各不相同。卡拉斯的说法是：他先将上校绑了起来，然后把他的妻子强奸了，在最后的决斗中，他把上校杀了。而上校的妻子则是另一种说法：她说上校死在她的手上。法医的鉴定是：上校死于自杀。真实的情况究竟怎样？惟一的知情者探矿家目睹了事情发生的全过程，实际情况是：上校的妻子向卡拉斯卖弄风情，促使上校和卡拉斯展开决斗，而在决斗中，上校死在了自己的剑下。那把惟一可以作为物证的剑也被探矿家拿走。

這部日劇特別篇，重新翻拍黑澤明在1963年的經典之作。此劇是黑澤明的人道主義電影代表作之一。取材於愛德華麥克伯恩所著之《金格的贖金》的架構，探討貧富階級的對立。
內容主要描述憎恨有錢人的年輕綁匪、提供贖金的正直商人以及投注全力追捕犯人的刑警，劇中充滿推理情趣，由最後一個埸景，可以看出本部電影的重心在於權籐與竹內之間的抗衡。靠自已努力而飛黃騰達的權籐，以及對現實極度不滿的竹內，兩者之間的對立，可說是現代社會中共通的一大課題。
在這部片子中沒有加入任何說教的意味，反而透過高度的影像技巧，將電影的娛樂性與社會性巧妙地結合。將富有正義感的人道行為以男性的感覺透過影像完美地表達出來。這部片子可說成功地將這種魅力發揮到極致。
此次特別編找來阿部寬飾演刑警、妻夫木聰飾演內心複雜的犯罪醫生，還有佐藤浩市所飾演的鞋商，皆有突破性的精彩演出。

1999 Japanese film directed by Takashi Koizumi

郊外神社的神殿里，九位年轻武士在秘密开会，城代家老的外甥井坂（松山健一饰）准备向大目付菊井求助揭露内部问题。但外貌邋遢的武士椿三十郎（织田裕二饰）出现，告诉他们菊井才是背后的黑手。果然，神殿很快被大目付手下团团围住，三十郎出手替年轻人解危，而室户半兵卫（丰川悦司饰）却欣赏三十郎的身手，欢迎他加入。之后，三十郎与九人组去找城代家老，却发现晚了一步已被绑架。
他们到了武士寺田家中再谋营救，隔壁就是敌人所在的黑藤府。菊井一边监禁了城代家老，另一边又想着引出年轻武士们出洞，幸得三十郎所救。在精妙计谋下，解救成功。但室户半兵卫却不放过三十郎，较量的胜负就在一瞬间。

The story of the film is simple: A young girl in the countryside raises a young horse and develops a deep relationship to the animal. But the war is becoming part of life, so in the end she has to sacrifice her horse and sell it to the military.
The idea of propaganda film has been discussed by various scholars. Donald Keene mentioned that it only takes the ending of a film like uma to turn an overall innocent story into propaganda. The film was in 1941 officially supported and praised by the Japanese government. An official government statement commented: “Feel Gratitude in your hear and lend yourself to support the war effort” and Army Minister Tojo Hideki commented: “Only by means of the heartfelt affection of the breeders can fine horses – a mobile weapon that will become increasingly necessary in the future – be raised.”
A film about a teenager fond of horses, that turns into a propaganda film – so why should you be interested? Uma directed by Kajiro Yamamoto is often regarded as being the first film with a major involvement of Akira Kurosawa – who apart from his job as assistant director was said to have a love affair with the film’s teen aged star Takamine Hideko. Takamine herself was already one of the greatest stars of Japanese cinema, affectionately referred to as “Deko-chan” by her fans. After the war she would appear in many famous movies, most prominently in the works of Kinoshita and Naruse.

After her anti-fascist professor father is dismissed, Yukie navigates love, political repression, and wartime upheaval—ultimately forging her own path in pre- and post-WWII Japan.

Young women at a precision optics factory in wartime Japan push to exceed production quotas, enduring illness, injury, and personal hardship to “serve the country.” Led by Tsuru Watanabe, they fight fatigue and setbacks to keep their line moving—even when duty collides with grief.

1951 film by Akira Kurosawa

Yuzo and his fiancée Masako spend their Sunday afternoon together, trying to have a good time on just thirty-five yen. They manage to have many small adventures, especially because Masako's optimism and belief in dreams is able to lift Yuzo from his realistic despair.

A few years after his breakthrough, Sanshiro resumes his path to judo mastery—testing his discipline against an American prizefighter and later facing vengeful karate brothers. As rival schools and public spectacle push him toward violence, he must reconcile strength with restraint and the true spirit of his art.

A fugitive lord and his six retainers disguise themselves as monks to bluff their way through a hostile checkpoint.

The story centers on an elderly hibakusha, whose husband was one of 80,000 human beings killed in the 1945 atomic bombing of Nagasaki, caring for her four grandchildren over the summer. She learns of a long-lost brother, Suzujiro, living in Hawaii who wants her to visit him before he dies.

在遥远的未来，一个说不定是被称作为地球也不一定的惑星，有一群全身机械化的武士们在那儿长期的战斗。当大地化为焦土，战争终告终结。人们再次耕种稻田，生产出不至于让生活有困难的数量的米。位于被群山环绕受到湿润气候恩惠的“钪纳村”也正在从战争的伤害中重新站起来，受惠于盛产的稻米。但是村里的人们却不能因为米量的丰渥而快乐起来。因为每年都会有黑色威胁“山贼”——过去再战场上风光一时的机械化武士们，数之不尽的席卷而来。战争终结之后的他们早已失去了生活的目的，转而成群结队的去蹂躏村庄抢夺稻米与女人。
抵抗即死--只知道耕作的农民们对于收获期的们的袭击除了无可奈何的接受之外，并没有其它生存下去的方式。对于在收获期之前前来视察稻米状况的山贼，康娜村的长老伪作倡导彻底抗战到底，不过村民们发出了反对的意见。但是伪作早就已经有击退山贼的妙计了，能够对付山贼的只有武士。
就这样血气方刚的少年利吉和分配水的巫女云母及小町姊妹代表村庄朝向沙漠另一方的村庄。虹雅渓展开旅程--对于自小生长在纯朴的康娜村的云母们而言，既杂然又人口众多的虹雅渓是个让他们好奇心与困惑感相互交杂的异度空间，为了拉拢武士所带来的米也被小偷给偷去。从小偷手中将米给夺还回来的是名为了修行而来到了虹雅渓的一个叫做胜四郎的年轻武士。虽然小町和利吉马上就想着要拉拢他，但云母却以“没有战场的气息”为由加以拒绝。
就在这时出现了一名云母一行人认为“就是他了”的武士，其名为勘兵卫，他将在街头上发生的斗殴事件一瞬间的处理完毕并离去。那耀眼的模样让云母直觉地认为他才是能够拯救村庄的真正的武士……
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A hardened convict and a younger prisoner escape from a brutal prison in the middle of winter only to find themselves on an out-of-control train with a female railway worker while being pursued by the vengeful head of security.

Residents of a rundown boardinghouse in 19th-century Japan, including a mysterious old man and an aging actor, get drawn into a love triangle that turns violent. When amoral thief Sutekichi breaks off his affair with landlady Osugi to romance her younger sister, Okayo, Osugi extracts her revenge by revealing her infidelity to her jealous husband.

A young army surgeon, Kyoji Fujisaki, accidentally contracts syphilis during a WWII field operation. Back at his father’s clinic, he treats himself in secret and breaks off his engagement rather than risk his fiancée’s future, even as he confronts the irresponsible patient who infected him—testing his ethics, pride, and capacity for sacrifice.

1、故事以黑死病蔓延的中世纪俄罗斯为舞台。故事的前三分之一，讲述了拖布洛夫斯基侯爵的亲卫队长诺维科夫的悲剧故事。为了阻止黑死病的蔓延，诺维科夫奉侯爵之命，对辖区内的村庄进行“控制燃烧”，埋葬死者。事后，侯爵却担心诺维科夫及其部下感染病毒，决定把他们抛弃。得知侯爵用意的诺维科夫和35名部下返回城中，却被拒之门外，强行入城的士兵被子弹射死。
诺维科夫一队人，在被死亡侵袭的、地狱一般的村庄里徘徊，一个接一个地死于黑死病。最终，独自一人的诺维科夫回到城门前，大声请求杀了自己。伴随着城中射来的子弹，诺维科夫倒下了。
2、舞台转移到了城中。与城外的地狱光景迥然不同，城中的舞会一片纸醉金迷。但是人们并非发自内心地享受这一切，只是努力忘掉死亡。城中有着各种各样的上流阶级——贵族、商人、地主、工厂主、医生、诗人、修道院长、法官、银行家……这其中，侯爵独掌大权，用恐惧压制、统率大家。
夜里10时，枪杀了诺维科夫的亲卫队长马布里基，因为被人看穿了他对侯爵反感，以说出禁语“黑死病”的罪名被处以绞刑。人们在侯爵的阴影下虽然口中说着不公平，却没人想改变现状。这时，侯爵夫人不巧患病，人们恐惧着：“莫非城中也出现了黑死病？”
夜里11时，侯爵的弟弟巴贝尔游说与侯爵对立的大公贵族离开城内，却反被这些人逮捕。在被送入地牢的途中，巴贝尔谣传城中食物所剩无几，侯爵夫人患了黑死病。被恐惧煽动的人群惊慌失措，依照巴贝尔的指示抓捕侯爵。企图上前阻止的人被立刻杀死。
3、在为迎接新的指挥者举行宴会时，侯爵和小丑一起被关进地牢。巴贝尔明知侯爵夫人所患病并非黑死病，但因为害怕人们再听从侯爵，于是隐瞒了真相，杀掉了知道真相的侍女，甚至杀掉了在场的修道士。
夜里12时，随着芭蕾舞者的登台，舞会达到了最高潮。依照之前侯爵的意思准备的芭蕾表演，却有着犹如怪物一般荒诞的舞蹈动作，观者一时无语。与此同时，士兵放火烧了侯爵夫人的住所，夫人死去。但上校“夫人绝不是黑死病”的话，唤醒了士兵们的正义感，吊死了与巴贝尔情同手足的煽动者。对夫人之死心怀愧疚的亲卫队长放出侯爵后自杀。
另一边，芭蕾表演越来越激烈、邪恶、狂乱。此时，戴着黑死病面具的人出现了，愤怒的巴贝尔拿着剑追向他。戴面具的人依次穿过黄色、蓝色、红色、绿色、紫色的房间，最后在黑色房间的大时钟前停下。脚边蠕动着被巴贝尔杀死的侍女和修道士。人们看到此景认为这是黑死病造成的，恐惧之下争先恐后逃向城外。人群中踩踏致死、从城墙坠落而亡者时有发生。一片混乱中，巴贝尔死于侯爵手中。城内被大火包围。最后的时刻，侯爵和戴面具的人耳语——原来那人正是小丑。
越燃越烈的大火中，响起了凌晨1点的钟声。随即戛然而止。
《德尔苏·乌扎拉》时期合作黑泽明的前苏联副导演瓦西利耶夫，讲述了关于《黑死病的假面》计划的搁浅历史。他表示，摘得奥斯卡后，黑泽明表达了希望在苏联再拍一部电影的意愿，提出了《黑死病的假面》，并表示：“剧本也有了，主演继续用《德尔苏·乌扎拉》的尤里·索洛明。”瓦西利耶夫自己也有再次召集《德尔苏·乌扎拉》团队的想法，并选定了彼时捷克斯洛伐克的古城作为拍摄地；因为片中骑马的场面颇多，主演尤里·索洛明也开始了骑马练习。然而黑泽明返回日本后，日方却再没动静，苏联一方也无法再往下进行。第二部合拍片就此搁浅。
电影《黑色假面》来自日本电影大师黑泽明的剧本遗作，改编自美国作家爱伦坡的《红死病的面具》。发布会现场展示了黑泽明的宝贵手稿影印本，黑泽明的儿子黑泽久雄也发来VCR，对华谊兄弟和工夫影业给予充分信任和期待。监制陈国富表示 ，他希望由年轻导演来拍摄该片，具体是谁还未公布。王中磊则透露，拿到剧本版权的时间并不长，没想到消息很快就在行业内传开，有很多导演报名自荐，甚至包括日本一些殿堂级的导演“都追过来”，希望能够有机会执导。“但我跟国富还是有我们自己的一些想法，虽然不很成熟”。
王中磊表示，拿到《黑色假面》是得益于在日本认知度颇高的画家吕忠平的牵线搭桥，拿到黑泽明大师的遗作并用中国人的力量跟方式拍摄“是非常不安的”，回国第一时间他就跟陈国富通话，“我相信国富当时也没有想好怎么办，但特别棒的是他第二天看了手稿后，就跟我打电话，说愿意跟我一起来挑战” 。

An aging foundry patriarch, gripped by terror of nuclear annihilation, tries to uproot his family to Brazil. When they petition to have him declared incompetent, a family-court counselor witnesses his obsession slide into ruin—and asks whether ignoring the atomic threat is any saner.

1950 film by Akira Kurosawa

In feudal Japan, during a bloody war between clans, two cowardly and greedy peasants, soldiers of a defeated army, stumble upon a mysterious man who guides them to a fortress hidden in the mountains.