After Torajiro's latest attempt to find a bride goes awry, he starts traveling again and runs into Utako (last seen in Tora-san's Dear Old Home), now a widow.

A poor peasant, after years of scraping, becomes a rich and powerful Osaka merchant. Mizoguchi Kenji's final project; he died before completing it and directing duties turned over to Yoshimura Kozaburo.

After Hiroshi is injured in a workplace accident, Torajiro gives Sakura the money he has saved and leaves to work as a traveling salesman once again. During his travels, Torajiro meets a father who shares a drink with him. In the morning, Torajiro is shocked to learn that the man has left his baby behind and a note asking Tora to take care of the child.

Tora-san visits Hokkaido and is reunited with Lily. Now divorced, she plans to resume her singing career and renews her unusual relationship with Tora-san.

Tora-san befriends the descendant of a feudal lord. The man asks Tora to locate his deceased son's wife who resides somewhere in Tokyo.

In late 90s Osaka, three people from various walks of life meet by chance. They team up to orchestrate a complex financial con targeting crooked businessmen in an attempt to solve their respective financial woes.

Tora-san becomes friends with Toraya's newest tenant, a pachinko-playing electrician that goes by the nickname Watt. Tora attempts to match Watt with a young waitress.

Carrying a bag full of samples, Mitsuo makes rounds to shoe stores in remote cities. While staying at budget hotels, his thoughts turn to Tora-san.

Tora-san is inspired to pursue an education after a visit to the grave of a woman he met years ago. When he returns to Shibamata with the intent to study, he falls for Toraya's new tenant instead.

When Tora-san's infatuation with his nephew's school teacher causes family turmoil, he leaves on his travels again. When he returns, he falls in love with the teacher's mother.

Kokko is a third grade elementary school student. Even though she has a family who loves her, Kokko is full of dissatisfaction and she admires loneliness.

Subu makes pornographic films. He sees nothing wrong with it. They are an aid to a repressed society, and he uses the money to support his landlady, Haru, and her family. From time to time, Haru shares her bed with Subu, though she believes her dead husband, reincarnated as a carp, disapproves. Director Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend’s obsession. Imamura’s comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time.