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The situation of Japan during the Cold War differed from those of other East Asian countries that were in the front line of the democratic and communist camps. Japan restored the diplomatic relations with the Soviet Union in the 1950s, and the Communist Party also has acted legitimately. However, it does not mean that certain cultures reflecting the Cold War were not created in Japan. This paper aims to offer a new perspective on Japan¡¯s Cold War culture by reanalyzing movies that were not covered in the context of the Cold War in previous researches. I first looked into how the relationship between Japan and the U.S. within the democratic camp was reflected in the Japanese movies. The nuclear bomb attack, a sensitive issue between the two countries, was dealt with in the film, but the main subjects, Japan's war responsibility and the subjectivity of dropping the bomb by the U.S., were deflected. In the early 1960s when the Cuban Missile Crisis brought the world perilously close to nuclear war, <The Last War> was completed as a work of contradictory narratives. Although the film was set in the Cold War, it could not depict the traits of the Cold War because of the special circumstances which Japan faced. Furthermore, it could be observed that the victimhood nationalism to accept the nuclear bomb damage initially had affected the film. The relationship between the communist camp and Japan was able to be found in a joint film between Japan and the Soviet Union. In the movie, there was no fear of ideological confrontation or nuclear war. The Soviet Union was superior in terms of culture, and Japan was represented as boys and women to dispel its established image as an aggressor. These characteristics, revealed from Soviet-Japanese relations, were also found in common with movies made within relations with the United States.