is a 1967 Japanese pseudo documentary film by director Shōhei Imamura about a film team's search for a man reported missing. Plot Tadashi Oshima, a 32-year-old salesman from Naoetsu, Niigata prefecture, is reported missing. Together with Oshima's fiancée Yoshie Hayakawa, Imamura and his film team, including interviewer Shigeru Tsuyuguchi, visit relatives and co-workers to find Oshima's whereabouts. During their travels, it is revealed that none of the persons are who they initially seemed to be: Oshima, repeatedly described as a weak and obedient character, embezzled money from his company, was seeing another woman named Kimiko, and was reluctant to marrying Yoshie because her older sister Sayo was living in an open relationship with another man. Sayo in turn suffered from repeated violent attacks by the ill-tempered Yoshie since childhood. Also, Yoshie suspects her sister of having had an affair with her fiancé, while the rest of the film team speculates if Yoshie is only acting out a plot. Yoshie, Sayo, Tsuyuguchi and Imamura meet in a restaurant, joined by a fishmonger who claims that he repeatedly saw Sayo and Oshima together, which Sayo denies. The scenery is revealed to be a film set, and Imamura declares the settings and events to be fiction. In the last scene, the film team stages one of the meetings of Sayo and Oshima, which leads to an argument between Sayo, Yoshie and the fishmonger, each accusing the other of giving false testimony. Imamura wraps up the filming with the words, "the film is finished, but reality is not". The film is interspersed with scenes of Oshima's relatives and Yoshie consulting different shamanic mediums about Oshima, one of which accuses Sayo of having murdered him out of jealousy. Cast Shigeru Tsuyuguchi as Interviewer Yoshie Hayakawa Shōhei Imamura Production Imamura had taken interest in the phenomenon of ongoing vanishings of people in Japan, which summed up to thousands every year. He chose what he called the "most ordinary" case and met with the missing man's fiancée Yoshie Hayakawa. Imamura, who had planned to make a film on her research, was startled by what he saw as the woman's self-centeredness and tendency to perform in front of the camera. Imamura concluded that she wasn't interested in finding her fiancé at all, but found himself accused of the same by her in return. He decided to shift the film's focus towards her persona, often filming her secretly. Reception