Only on Mondays

About This Movie

Only on Mondays paints a gritty portrait of Yuka, a woman caught in the complexities of a patriarchal society. The film exudes a raw energy, balancing moments of tension with quieter reflections that allow the audience to contemplate Yuka's choices. The pacing feels deliberate, almost languid at times, but it serves to deepen the unsettling nature of her experiences. Nakahira's direction, though less celebrated, captures the nuances of Yuka's character with a stark honesty that feels refreshingly bold for 1964. It’s a distinct exploration of female agency, layered with social commentary that resonates in its own way, offering a glimpse into a transformative era in Japan.

This film has a bit of a niche following among collectors, not least because it's often overshadowed by other titles of the period. The scarcity of physical media, especially in decent condition, adds to its intrigue. There are only a few known releases, with the original prints becoming increasingly rare, making it a noteworthy find for those interested in post-war Japanese cinema. Its exploration of themes around gender and power dynamics aligns well with contemporary discussions, giving it a unique relevance that collectors appreciate.