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Are people destined to return to their rightful place in life? Hao Min is an heir to a corporation specialized in ships and boats. His character is described as intelligent, somewhat cold and a hidden man-child. He expects perfection in himself and in others, and applies the same principle to his love life as well. The leading lady, Yu You Wei, suffers from memory loss

27-year-old Fukazawa Misaki and 29-year-old Hazuki are sisters who are polar opposites in both lifestyle and personality. Although they would hurt each other's feelings, they would also make up for each other’s deficiencies. The beautiful Misaki is the typical younger sister who is good at putting on the little girl act. She did not fare well academically but knows how to swim with the tide. After graduating from high school, she left home and went missing. But one day, she suddenly moves into Hazuki's apartment and behaves with wild abandon. However, Misaki has a secret which she keeps to herself... Hazuki works at a ward office and has set her sights on an early marriage to her boyfriend who works in the same office. She is the well-organised, fastidious chairperson type, but is a wee bit socially awkward. Hazuki feels that Misaki snatched all their mother's love in childhood. What will happen now that Misaki has moved in with her? Hazuki actually has a secret which she cannot tell Misaki too. As these two sisters clash while living under the same roof, their values start to change little by little.

Following the collapse of his clan, unemployed samurai Hanshiro Tsugumo (Tatsuya Nakadai) arrives at the manor of Lord Iyi, begging to commit ritual suicide on his property. Iyi's clansmen, believing the desperate ronin is merely angling for charity, try to force him to eviscerate himself—but they have underestimated his honor and his past. Winner of the 1963 Cannes Film Festival's Special Jury Prize, Masaki Kobayashi's Harakiri is a scathing denouncement of feudal authority and hypocrisy. Part Review from Film Reference http://www.filmreference.com/Films-Se-Sno/Seppuku.html The recurrent image in Seppuku is of Tsugumo in his black robes (having refused the white ones appropriate to the ritual suicide), seated cross-legged on the white harakiri mat in the center of the courtyard, surrounded by the massed spears of the Iyi warriors, and speaking in calm, unhurried tones. Around this image of charged stillness, the action of the film proceeds through visual compositions of intense lyrical beauty: most notably in the duel between Tsugumo and Omadaka, finest of the Iyi swordsmen, breathtakingly staged as a formal ballet of stylized, sweeping gestures amid long wind-tossed grass. Kobayashi's coolly reticent camera perfectly matches the rhythms of his studied narrative, supported by Toru Takemitsu's evocative score and, in the central role, a performance of epic stature from Tatsuya Nakadai. My Opinion In my opinion this film is a masterpiece and equally as good as any Kurosawa film. I really cant praise this film enough, if you only see one Japanese classic by a master director try this one.