Chapter 5 revisits the work of two cinematic giants, Kenji Mizoguchi and Yasujirō Ozu, and their recourse to theatre in The Story of the Last Chrysanthemums (Zangiku monogatari, 1939) and Floating Weeds (Ukigusa, 1959) respectively. In them, the mediums of theatre and film are scrutinised through the self-reflexive genre of geidōmono, encompassing films in which the protagonist is a practitioner of one of the traditional Japanese arts. Here, theatre serves both the Mizoguchi and the Ozu films to break down the system at the base of the mediums of theatre and film into their constitutive parts, provide evidence of their reality, and propose a fairer arrangement of them, in particular as regards the ruthless hierarchy embedded in both mediums.