Chapter 6 depicts Japan’s roles in newsreels, documentaries, and movies. Weimar films of all three genres inherited stereotypical tropes from earlier arts. Filmmakers articulated Japan through “the familiar of the unfamiliar”—an oft-used catalogue of clichés of exotic Japan well known to viewers such as geisha, cherry blossom, temples, and traditional storylines. Late Weimar films began to appreciate Japanese modernity but also condemned Japan’s militarism and aggression against China. Just then the Third Reich imposed new values and priorities. On the one hand, its films propagated transnational Nazism. They sided with Japan’s position and depicted Japan as a strong, willful great power with a capable military. On the other, Third Reich cinema exemplifies transnational Nazism’s inherent tension and paradox, as motion pictures continued to apply orientalist rhetoric and imagery to Japan. Film contributed to German-Japanese convergence through providing a stage for transnational Nazi filmmakers to imagine Japan as ideologically acceptable and for the two countries to collaborate on joint projects.