It is clear that there is only one Miike. But he works like seven or eight. He is one of the most prolific filmmakers in Japan, having already far exceeded one hundred films, but nevertheless manages to maintain a remarkable level of quality and, above all, an amazing capacity to surprise with every new movie. And although his new film, 'First Love', has been indefinitely delayed its release in Spain, that is no problem if you feel like enjoying the crazy yakuza of Asian cinema. There is plenty of material.
Samurai, horror, science fiction movies, manga adaptations, anime, videogames … and pure and simple dementia, in an explosive cocktail of unpredictable excesses. Miike is able to combine play dough animation, ultragore, parody, and eschatology without messing around, often in the same movie. And today we are going to try to make our way through this morass of references and styles.
Takashi Miike: Kiri-kiri-kiri
In the last installment of 'Everything is a lie in cinema and television' we have selected 12 great Miike movies so you have a broad perspective of what it is capable of offering its versatile style. From the terrifying dementia of 'Gozu' to his censored episode for 'Masters of Horror', going through the amoral eschatology of 'Visitor Q' or the joyous celebration of the family in 'The happiness of the Katakuri'.
So settle in and, above all, don't bring preconceived ideas. The best thing with Miike is to be amazed. Like in 'Dead or Alive' or 'Audition', which are what you expect until they become things from another dimension. Long live the cinema that surprises, disgusts, impacts and fascinates. Long live Takashi Miike.