Ichi the Killer says: Happy New Year!
Why not drink to 2016 with Ichi the Killer, a repressed and psychotic killer who may be able to inflict levels of pain that your average sadomasochistic yakuza enforcer can only dream of.
Come meet Ichi the Killer at Corporate Bodies Film Fest: 11+12+13 February 2016 (The Hague). Or don’t, if “squirting blood, throat-slashing, limb-hacking and other forms of mutilation too gruesome to describe here” is not your thing.
Japanese director Takashi Miike can be considered the master of graphic violence, but also one of the great innovators in contemporary film. Making more than 100 movies in a 20 year career he is not only a master of production, but also of excitement. In a brand new raunchy, wild and violent style, a big chunk of his output focusses on the world of the Yakuza, the Japanese mafia. Although making a wide variety of films like Yatterman, The Great Yokai War, The Bird People of China, The Happiness of the Katakuris (a mixture between The Sound of Music and Dawn of the Dead), Zebraman 1 & 2, or Hara Kiri (a film about the dubious honor of the samurai) most of his films deal with the crazy world of the Yakuza. Films like City of Lost Souls, Graveyard of Honor, Deadly Outlaw Rekka, Dead or Alive trilogy, or Yakuza: Like a Dragon deal with this violent, wild and unpredictable world, in which honor, ‘family’ and going berserk play a pivotal role. Most important however these films inform us about these kind of informal and network-like (rhizomatic) organizations. In one way or the other they open up these hidden worlds, which mostly reveal themselves at night in the neon lights, or in the shadows, but still play a very distinctive and dominant role. The Yakuza as portrayed in Takashi Miike’s movies can inform us on these informal and secretive organizations. Ichi the Killer can be considered his most brutal, violent and also exciting one. Presenting a brand new film-style he pushes the borders of what the audience will accept as presented violence. Infamous for its screening at the Toronto film festival where the members of the audience received ‘barf bags’ with the Ichi logo, before the screening started. But is not just violence. It is also tenderness, brotherhood and the questioning of life itself. It sketches an original, insightful and ruthless image of the secretive organization of the Yakuza. Barf bags will probably not be needed, but it will without any doubt be a wild ride!