A Man Vanishes
1967·Drama·2h 10m
7.1
★
A Man Vanishes examines the concept of Johatsu, tackling the phenomenon of people missing in Japan over the years. It picks one such person from the list, someone who had seemed to disappear from the face of the earth due to embezzlement from his company, and the filmmakers begin an investigative documentary into the reasons behind and attempt at tracking him down.
Directed by Shōhei Imamura
village
interview
salesman
missing person
found footage
Trailer
IMDB
N/A
Where to Watch
Cast
Yoshie Hayakawa
Self
Shōhei Imamura
Self
Shigeru Tsuyuguchi
Self
Crew
Shōhei Imamura
Director
Shōhei Imamura
Producer
Popular Reviews
7 reviews
Félix Caulfield
6.0★ · 01/08/26
Japanuary 2026 day 8:
idk man, maybe i’m just to depressed rn but i couldn’t focus for the life of me
idk man, maybe i’m just to depressed rn but i couldn’t focus for the life of me
Japanuary 2026 day 8:
idk man, maybe i’m just to depressed rn but i couldn’t focus for the life of me
idk man, maybe i’m just to depressed rn but i couldn’t focus for the life of me
Nick
5.0★ · 02/09/25
Cameraperson, Close-Up, and F For Fake are the three biggest docu-“something” movies I’ve encountered that either directly or indirectly examine truth, narrative, the camera, and their relationship. Especially the latter two, as they are operating in the same exploratory pool. Even more noteworthy is just how critically well-regarded these latter films and filmmakers are. In my mind, that’s all the more reason for a serious reconsideration of just how great Imamura was and how well he actually deserves to be known. For reference, at this time, this film only has 2.5k viewers. Close-Up has 139k and F has 73k. Has there ever been more statistical proof of being “underground?”
I’ll be honest, I didn’t enjoy watching this. I’m having a much greater time thinking about it. This is the kind of film I’ve grown comfortable with admitting I can admire without enjoying. That’s not to say my enjoyment wouldn’t change on a rewatch, but I’m not going to pretend or fabricate my feelings for the sake of saying “I get it” or “I’m part of the club.” It was a great idea (good job, past Nick) to watch these Imamura films in order. His evolution is wild and I adore this guy. He is now my epitomized director for the word “audacious.” That’s what I think of all his work.
I’ll be honest, I didn’t enjoy watching this. I’m having a much greater time thinking about it. This is the kind of film I’ve grown comfortable with admitting I can admire without enjoying. That’s not to say my enjoyment wouldn’t change on a rewatch, but I’m not going to pretend or fabricate my feelings for the sake of saying “I get it” or “I’m part of the club.” It was a great idea (good job, past Nick) to watch these Imamura films in order. His evolution is wild and I adore this guy. He is now my epitomized director for the word “audacious.” That’s what I think of all his work.
Cameraperson, Close-Up, and F For Fake are the three biggest docu-“something” movies I’ve encountered that either directly or indirectly examine truth, narrative, the camera, and their relationship. Especially the latter two, as they are operating in the same exploratory pool. Even more noteworthy is just how critically well-regarded these latter films and filmmakers are. In my mind, that’s all the more reason for a serious reconsideration of just how great Imamura was and how well he actually deserves to be known. For reference, at this time, this film only has 2.5k viewers. Close-Up has 139k and F has 73k. Has there ever been more statistical proof of being “underground?”
I’ll be honest, I didn’t enjoy watching this. I’m having a much greater time thinking about it. This is the kind of film I’ve grown comfortable with admitting I can admire without enjoying. That’s not to say my enjoyment wouldn’t change on a rewatch, but I’m not going to pretend or fabricate my feelings for the sake of saying “I get it” or “I’m part of the club.” It was a great idea (good job, past Nick) to watch these Imamura films in order. His evolution is wild and I adore this guy. He is now my epitomized director for the word “audacious.” That’s what I think of all his work.
I’ll be honest, I didn’t enjoy watching this. I’m having a much greater time thinking about it. This is the kind of film I’ve grown comfortable with admitting I can admire without enjoying. That’s not to say my enjoyment wouldn’t change on a rewatch, but I’m not going to pretend or fabricate my feelings for the sake of saying “I get it” or “I’m part of the club.” It was a great idea (good job, past Nick) to watch these Imamura films in order. His evolution is wild and I adore this guy. He is now my epitomized director for the word “audacious.” That’s what I think of all his work.
Dani
8.0★ · 08/09/25
Dani
8.0★ · 08/09/25
Nicolas Valenzuela
10.0★ · 05/28/25