The best Erika Okuda’s movies

Chiba appears seven days before a person dies an unexpected death. His job is to observe the person for seven days then decide either to ‘execute’ or ‘pass over’. Today, again, in the rain, he waits. His subject, her death due in seven days, is Kazue Fujiki. She works for a manufacturing company in the complaints department. Exhausted after her day, she emerges from her office. It’s time for the Reaper to go to work.

This enticing period melodrama depicts a long-suffering woman's relationship with her brilliant but self-destructive writer husband in postwar Tokyo. Based on a semi-autobiographical 1947 novel by Osamu Dazai, the story centers less on the womanizing, heavy-drinking, suicidal hero than on the wife who loves him. Written by Palm Springs International Film Festival

Two Japanese friends accidentally kill their boss and dump his remains in Black Fuji, a mountain/landfill hybrid. This leads to poor results when the chemicals of the landfill mix with the corpse (and many other corpses) to give rise to a zombie infestation in Tokyo.

The ever-lively and upbeat Natsuko tries to mend a broken heart by carrying on with a string of short-lived affairs after her break-up with Tomomi. But when Tomomi announces her plans to marry - a man - Natsuko becomes inconsolable. While all this is taking place, Natsuko's straight male roommate is grappling with his own feelings for her, and a young high school girl comes to Tokyo searching for the mother that long ago left her for a female lover. Each character - queer, straight, male, female, young, old, and in-between - struggles to make peace with him/herself as all their lives overlap. This story captures the power of young love, and the web of the city.

Thirty-year-old, unemployed Kenji (Kaku Tomohiro) spends his days listlessly at his parent's home, which is set to be torn down any day now. He relives his childhood when a third grader out for summer vacation nails Kenji with a water balloon, and Kenji fights back.

Kanjaki, a middle-aged man, goes to a quiet countryside village. He puts his helmet on a shrunken old woman whom he meets by chance in a shop. As soon as he presses the buttons on the helmet one by one, she suddenly remembers forgotten happy moments and is rejuvenated. This is just the beginning. Kanjaki goes on to make the village people recall their happy pasts, but his face is lined with worry and a sadness that deepens. What is the secret of this helmet? And what is he trying to do with it? Director Sabu’s Happiness suggests happiness and suffering are intertwined through the unusual scenario of a helmet reminding people of the happiest moments of their lives. Sabu convincingly portrays the notion that memory is the source of both happiness and suffering, and how memory affects our lives.