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Izo
Directed byTakashi Miike
Written byShigenori Takechi
Produced byTaizô Fukumaki
Fujio Matsushima
StarringKazuya Nakayama
Takeshi Kitano
Bob Sapp
Release date
  • 21 August 2004 (2004-08-21) (Japan)
Running time
128 minutes
LanguagesJapanese
English

IZO is a 2004 Japanese surrealist period horror film directed by Takashi Miike. The main character of the film is Izo Okada (1832–1865), the historical samurai and assassin in 19th-century Japan who was tortured and executed by beheading in Tosa.

Izo appeared previously in Hideo Gosha's Hitokiri (1969), then played by Shintaro Katsu. However, Miike's portrayal of the character (or rather his spirit) transcends reality (and time and space) and is more of a surrealist exposé of Izo's exceedingly bloody yet philosophical encounters in an afterlife heavy on symbolism, occasionally interrupted by stock footage of World War II accompanied by acid-folk singer Kazuki Tomokawa on guitar. Kazuya Nakayama plays Izo and the many characters he encounters on his journey include figures played by Takeshi Kitano and Bob Sapp.

Cast

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Awards

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Izo was awarded the best Special Effects prize at the Sitges Film Festival (Spanish international festival specializing in fantasy and horror films).[1]

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Izo

View on Grokipedia
from Grokipedia
Izo is a Japanese experimental action-horror film written and directed by . The story follows the titular character, an executed named Izo Okada, who returns as an undead wanderer on a surreal, vengeful across time, space, and dimensions, slaughtering countless figures from historical and modern eras while grappling with existential themes. Starring Kazuya Nakayama in the lead role, alongside and , the film is renowned for its , , and philosophical undertones, hallmarks of Miike's provocative . Loosely inspired by the historical samurai (1838–1865), a low-ranking warrior from the who served as a hitokiri—or "man-slayer"—assassin for the pro-Imperial Tosa Loyalist Party during the turbulent era (1853–1868). Trained in under , gained notoriety for his brutal efficiency in political assassinations aimed at destabilizing the , earning him a place among the era's most infamous killers. Captured in 1865 on charges of robbery and murder amid shifting alliances, he was crucified in , becoming a symbol of the violent upheaval preceding the . Miike's adaptation transforms this into a mythic anti-hero, blending (period drama) with horror to explore themes of rage, , and societal . Produced by KSS and Excellent Films, among others, Izo premiered at film festivals to polarized reviews, praised for its bold visuals and ambition but criticized for its chaotic structure. With cinematography by Nobuyuki Fukazawa and a haunting soundtrack by Koji Endo, the film exemplifies Miike's boundary-pushing oeuvre, influencing discussions on Japanese cinema's extreme wing.

Historical basis

Okada Izō

(1838–1865) was a low-ranking from the in southwestern during the late . Born into a modest family in what is now , he received basic training in and grew up amid growing social and political tensions within the domain's rigid hierarchy. As a gōshi (rural samurai of lower status), Izō lacked the privileges of higher-ranking retainers but honed his skills through rigorous self-practice and instruction under local masters, developing a reputation for exceptional physical strength and ferocity in combat. Izō rose to prominence as an assassin within the Tosa Kinnotō, a pro-imperial loyalist faction led by during the turbulent era. Aligned with the broader tenchū (heaven's vengeance) movement—characterized by targeted killings of those perceived as obstructing imperial restoration—he carried out assassinations against pro-shogunate figures, including officials and informants in and Tosa. Notable among his actions were the murders of low-ranking enforcers and collaborators, such as the 1862 slaying of a bakufu officer involved in the , which exemplified the faction's violent opposition to Tokugawa authority. Following the suppression of loyalist activities, Izō was captured in in early on charges of and , after being disavowed by his former allies amid the Tosa Domain's shift toward accommodation with the shogunate. Tried by Tosa authorities, he was convicted and sentenced to death. On July 3, (May 11 by the ), he was executed by (haritsuke) in , a method reserved for heinous crimes like and . Known posthumously as one of the "Four Hitokiri"—elite assassins alongside , , and —Izō's exploits cemented his legacy as a symbol of the era's radical sword-wielders. Izō's life unfolded against the backdrop of the (1853–1868), a period of profound upheaval triggered by Western incursions and internal strife that eroded the Tokugawa shogunate's 250-year rule. His assassinations contributed to the destabilization of pro-shogunate elements, accelerating the imperial faction's momentum toward the 1868 , which dismantled feudal structures and propelled Japan's modernization. While his actions embodied the (revere the emperor, expel the barbarians) ideology, they also highlighted the violent undercurrents of the transition from samurai dominance to a centralized nation-state.

Prior depictions

The first major cinematic depiction of appeared in the 1969 film (also known as Tenchu!), directed by Hideo Gosha and starring Shintarō Katsu in the lead role. In this drama, Izō is portrayed as a penniless from the who joins the loyalist Tenchūgumi group under Hanpeita Takechi, becoming a tool for political assassinations while grappling with his own naivety and arrogance. The film humanizes Izō as a foolish yet compassionate figure overwhelmed by historical forces, contrasting his boorish demeanor with the sophistication of figures like Ryōma Sakamoto, and emphasizes themes of through Gosha's muted visual style. This portrayal drew from post-war literary works that began reexamining Bakumatsu-era figures, notably Ryōtarō Shiba's 1969 novel Hitokiri Izō, which detailed Izō's physical prowess and role as an assassin while embedding him in the turbulent politics of the era. Shiba's , influential in popularizing narratives, shifted focus from Izō's brutality to his entrapment in ideological conflicts, marking an early step in reframing him beyond mere villainy. From the Meiji period onward, Izō featured sporadically in historical literature and theater, often influenced by traditions of dramatizing ronin outcasts and moral ambiguity in period tales, though specific adaptations remained limited until the era. In Japanese media, his image evolved from a historical villain—feared as one of the "Four Hitokiri" for indiscriminate killings—to an anti-hero symbolizing the chaos of modernization and personal disillusionment. Earlier depictions, such as in Shiba's novel and Gosha's film, adopted a straightforward historical drama tone, emphasizing factual events and psychological depth within realistic constraints, differing from more experimental approaches in later works. The 2004 film Izo notably departs from this tradition by embracing surrealism to explore Izō's rage across time.

Synopsis

Plot summary

The film opens in 1865 Tosa Domain, where the assassin Izo Okada is captured after killing numerous retainers of the Tokugawa Shogunate on orders from his lord, Takechi Hanpeita, and subjected to public crucifixion as punishment. As Izo dies, his overwhelming rage refuses to subside, resurrecting him as an immortal wanderer cursed to eternal unrest. Propelled through the space-time continuum by this fury, Izo materializes in a modern alley amid the homeless, where he quickly transforms into an unstoppable killing machine wielding his sword against descendants of those who condemned him. His rampage spans multiple eras and realms, from feudal —where he battles and revisits figures from his past, including his mother and a lover—to contemporary urban settings and surreal dimensions. Throughout, Izo indiscriminately slaughters symbols of authority, such as feudal warriors, modern politicians including a and president, religious leaders, and even children, viewing all humanity as complicit in his torment. Interwoven into his journey are encounters with philosophical guides, notably the wandering singer Kazuki Tomokawa, who appears as a surreal commentator reciting existential verses amid the chaos, and antagonists comprising a council of cosmic overseers attempting to contain his rebellion. Izo also reincarnates in various guises across history, such as a soldier forced to abandon his beloved before battle, perpetuating a vicious cycle of violence that echoes his original grudge. The narrative builds to climactic confrontations with divine entities, as Izo storms heavenly realms to challenge and assault the and ultimately , seeking to eradicate the source of all hierarchical oppression. Punctuating these sequences are montages of historical footage, including black-and-white clips from depicting global leaders and wartime devastation, which intercut with Izo's exploits to evoke an unending pattern of human conflict. Despite his assaults on celestial powers, Izo's rage proves inexhaustible, looping him back into perpetual wandering and slaughter across time.

Stylistic elements

"Izo" employs a non-linear structure that eschews conventional , instead presenting the protagonist's reincarnations across disparate historical and fantastical realms in a repetitive, theme-and-variation format designed to evoke the cyclical nature of violence. This approach blends elements of period drama with pronounced anachronisms, such as the integration of from events like the and the bombing alongside contemporary music and surreal vignettes featuring talking flowers or a , creating a disorienting that merges past and present. The film's 128-minute runtime amplifies this experimental pacing, alternating between protracted meditative sequences and abrupt bursts of action to underscore its philosophical undertones. Visually, "Izo" is characterized by rapid editing and , with Izo's swordfights unfolding in a relentless, often repetitive pattern that borders on the . Nobuyuki Fukazawa contributes a dreamlike quality through striking juxtapositions of characters against grandly surreal sets, ranging from Buddhist temples to modern office buildings, enhanced by unconventional techniques like upside-down shots and found footage insertions that heighten the film's otherworldly atmosphere. These choices align with the surrealist horror , prioritizing and thematic density over linear coherence. The sound design further intensifies the disorientation, incorporating an original score by Koji Endo featuring folk-rock influences with raw, unconventional vocals and guitar rhythms to evoke timeless sorrow and chaos. Tomokawa's contributions, including extended unbroken songs, blend seamlessly with diegetic elements like piercing screams during violent confrontations and archival audio, creating an auditory landscape that mirrors the film's thematic exploration of eternal rage. This eclectic mix reinforces the bilingual undertones in the , where Japanese exchanges occasionally intersect with English phrases from anachronistic figures, amplifying the viewer's sense of temporal and cultural rupture.

Production

Development

The development of Izo stemmed from director Takashi Miike's fascination with the historical samurai Okada Izō, a 19th-century assassin executed for his role in the turbulent final years of the Edo period, whom Miike reimagined as a vehicle for philosophical inquiry into the nature of violence and human destruction. This project followed Miike's extraordinarily prolific output in the early 2000s, during which he released up to half a dozen films annually across genres ranging from yakuza action to family dramas, allowing him to pursue more ambitious, introspective works like Izo amid his commercial successes. Miike drew partial inspiration from the execution scene in Hideo Gosha's 1969 film Hitokiri, using it to launch an exploration of violence as an eternal cycle in human existence, blending historical reverence with surreal, apocalyptic motifs. The screenplay was penned by Shigenori Takechi, a frequent Miike collaborator, who crafted a non-linear narrative that prioritized existential themes—such as , social ills, and the inescapability of —over a straightforward biography of its protagonist. Takechi's script positioned Izo as a thematic companion to Miike's earlier Graveyard of Honour (2002), employing the historical figure of to personify broader philosophical questions about humanity's propensity for conflict, resulting in a structure that traverses time periods and realities rather than adhering to chronological events. Production was led by Taizô Fukumaki for KSS and Fujio Matsushima for Excellent Films, companies that formed part of a broader to the project. With budget constraints typical of Miike's mid-tier endeavors in the era, the producers opted to incorporate cameos from Miike regulars and high-profile actors like to broaden audience appeal and offset costs, while fostering an experimental tone that contrasted with the director's more mainstream assignments. This approach enabled Izo to maintain its edge, emphasizing symbolic and surreal elements over conventional storytelling.

Filming

Principal photography for Izo took place primarily in during 2003 and early , utilizing various on-location shoots alongside studio sets constructed for the 's more surreal and fantastical sequences. The production relied on practical effects to depict the 's intense and , capturing the raw physicality of fights and executions without over-reliance on post-shoot alterations. For the time-travel elements and otherworldly visions, digital enhancements such as CGI and blue-screen compositing were employed to create seamless transitions across historical and ahistorical realms. Coordinating the large , which featured over 100 actors including high-profile cameos, presented logistical challenges amid the shoot's demanding schedule, compounded by director Miike's improvisational approach that encouraged on-the-fly adjustments to scenes and performances. This style, while fostering the film's chaotic energy, required flexibility from the crew to adapt to spontaneous changes during . In , the integration of archival footage—such as historical war images and educational clips—added layers of temporal disorientation, while meticulous sound mixing amplified the film's discordant rhythm through overlapping dialogues, industrial noises, and a pulsating score to evoke existential turmoil. These elements were refined to align with Miike's vision of , blending historical reverence with modern in a single, frenetic narrative flow.

Cast and characters

Principal roles

Kazuya Nakayama stars as Izo , the film's central anti-hero, a historical swordsman executed for his assassinations who returns as an immortal wanderer slaughtering across eras to avenge his betrayal and embody endless human violence. His portrayal emphasizes raw physicality—tireless swordplay and charges through battles—over verbal expression, with minimal dialogue underscoring Izo's primal, silent fury and isolation. Nakayama's athletic commitment sustains the role's demanding action sequences, transforming the character into a relentless force rather than a nuanced figure. Kaori Momoi plays Saya, Izo's soul-fragment and lover from a past life who serves as a compassionate guide in the realms, offering moments of tenderness amid the chaos. Her performance conveys maternal warmth, notably in a serene scene where she cradles the weary Izo and tends to him, proposing spiritual union as an alternative to his cycle of destruction. Momoi's subtle, nurturing presence contrasts the film's brutality, highlighting Saya's role as a of potential redemption. Ryûhei Matsuda portrays His Highness, a enigmatic young authority figure who oversees Izo's rampage and nods approval after key executions, symbolizing oppressive modern power structures. His ethereal, commanding demeanor positions the character as a cool , lording over entities and representing the impersonal forces Izo rails against. Matsuda's restrained intensity amplifies the role's aura of detached superiority, making confrontations with Izo feel like clashes between raw and institutional control. Takeshi Kitano appears as the Chancellor, a confrontational imperial or divine overseer who leads omniscient observers debating Izo's existential threat, possibly embodying godlike judgment. In this pivotal role, Kitano delivers a somnambulistic performance, ruminating with lethargic authority on Izo's rage while directing a cadre of ethereal businessmen, heightening the film's metaphysical tension. His understated menace underscores the Chancellor's role as a symbolic pinnacle of the powers Izo defies.

Cameo appearances

In addition to its principal cast, the 2004 film Izo, directed by , features several notable cameo appearances that add layers of eccentricity and star power to its chaotic narrative. American wrestler and actor portrays a hulking, monstrous enforcer in a surreal fight sequence, where his imposing physical presence amplifies the film's grotesque and fantastical violence. This brief role leverages Sapp's real-life reputation as a fighter to heighten the scene's intensity, drawing from his prior appearances in Japanese media. Ren Osugi, a frequent collaborator with Miike known from films like Visitor Q and Audition, makes an episodic appearance as one of the villainous figures in the story's hellish realms, embodying a sleazy, authoritative antagonist in a short but memorable confrontation. Other Miike regulars, such as Tomoro Taguchi and Susumu Terajima, also pop up in similar fleeting villainous roles, contributing to the film's episodic structure with their distinctive, over-the-top performances that echo the director's signature style. Lily, the Japanese singer and actress, appears as a symbolic female figure in the film's dreamlike sequences, representing ethereal temptation and mystery through her poised, otherworldly demeanor. Her cameo infuses these hallucinatory moments with a haunting sensuality, contrasting the surrounding brutality. These guest spots, including icons from Japanese cinema and entertainment, enhance Izo's appeal by creating a sense of interconnected artistry within Miike's oeuvre, attracting fans of experimental and genre-bending works.

Release

Premiere

Izo was screened in the Horizons (Orizzonti) section of the 61st International Film Festival on September 7, 2004. The screening highlighted director Takashi Miike's reputation for provocative cinema, drawing attention for its surreal exploration of violence. The film received its Japanese theatrical release on August 21, 2004, distributed by Team Okuyama. Subsequent international premieres followed, including a screening at the 48th on October 29, 2004, where the film's non-linear structure and graphic carnage alienated many viewers, leaving them bemused and disgruntled. It was also presented at the 34th in January 2005. Early festival audiences reacted with controversy to the film's abundant ultra-violence, often describing it as protracted, repetitive, and overwhelming, which underscored its thematic critique of humanity's propensity for brutality.

Distribution

"Izo" received a in beginning on August 21, 2004, primarily in select urban theaters, which resulted in modest performance and commercial underperformance relative to expectations for a production. Internationally, the film achieved distribution through film festivals and subsequent niche theatrical and video releases in and , rather than wide commercial runs. In the United States, it saw limited screenings before home media availability, while in , localized DVD editions, such as a German import release, catered to cult audiences. Home media distribution bolstered the film's accessibility, with a prominent special edition two-disc DVD released by Tokyo Shock in the United States on October 11, 2005, featuring extras including an by director , interviews, and behind-the-scenes footage. Similar DVD editions appeared in other markets, emphasizing the film's appeal to genre enthusiasts. As of 2025, "Izo" lacks availability on major subscription streaming platforms such as , , or , with options limited to ad-supported services like in and in , which has contributed to its enduring cult status among fans of experimental Japanese cinema.

Reception

Critical reviews

Izo received mixed upon its , with a 33% approval rating on based on six reviews (as of November 2025), reflecting divided opinions on its experimental style. On , the film holds a 6.1 out of 10 rating from over 4,900 users (as of November 2025), indicating a similarly polarized response among audiences. Critics praised the film's bold visuals and Takashi Miike's audacious direction, highlighting its surreal imagery and ambitious fusion of historical and fantastical elements as a daring evolution in his oeuvre. For instance, the use of found , anachronistic settings, and striking production design, including grand Buddhist-temple sets, was noted for creating a hypnotic and visually flamboyant experience. The film's philosophical depth, particularly its exploration of and power as enduring human traits, earned commendation in some quarters. Reviewers appreciated how Izo's narrative of and cyclical destruction across time periods probes mankind's propensity for , using repetition to underscore themes of eternal conflict and societal . Miike's style was lauded for its experimental audacity, blending meditative sequences with intense action to reflect on power structures and the inescapability of . However, detractors frequently criticized the film as pretentious and repetitive, with its mantra-like structure—revisiting similar violent motifs—seen as obscurantist and lacking coherence. Pacing issues and the overlong 128-minute runtime were common complaints, as the inconsistent between slow, ponderous scenes and abrupt bursts of often rendered the experience wearying and difficult to endure. One analysis described it as intentionally testing audience patience, though this approach alienated many with its exhaustive, hypnotic insistence. The repetitive swordfights and thematic variations were faulted for failing to build momentum, contributing to a sense of exhaustion despite restrained gore. Audience reception mirrored this divide, fostering a that celebrates the film's and symbolic layers—often compared to works by Jodorowsky—while detractors deemed it unwatchable due to its confusing narrative and relentless boredom after the initial hour. Enthusiasts value multiple viewings to unpack its depth, whereas others found the random violence and shallow philosophy grating and interminable.

Accolades

Izo garnered several accolades at international film festivals, with a focus on its technical achievements in and innovative storytelling within the fantasy and horror genres. The film won the Best Special Effects award at the 37th in 2004, recognizing the groundbreaking work in its surreal and violent aesthetic. It competed in the Horizons section of the 61st International Film Festival in 2004, earning a for the Venice Horizons Award for Best Film, which underscores its selection among emerging international cinema. In 2005, Izo was featured in the International Competition at the International Fantastic Film Festival, where it received a for the Narcisse for Best . Despite these international honors, Izo did not receive major awards from Japanese film institutions, such as the Japan Academy Prize or Hochi Film Awards. This recognition at genre-focused festivals like and highlighted the film's innovative approach to visual and narrative experimentation, aligning with critical praise for its bold effects and stylistic ambition.

References

  1. https://www.imdb.com/title/tt0377079/
  2. https://www.filmlinc.org/films/izo/
  3. https://www.samurai-revolution.com/a-note-hitokiri-izo/
  4. https://historica.fandom.com/wiki/Okada_Izo
  5. https://japanesesword.net/blogs/news/the-blade-of-a-killer-unveiling-okada-izo-and-his-legendary-sword
  6. https://www.rottentomatoes.com/m/1151014-izo
  7. https://books.google.com/books?id=8_d2DgAAQBAJ
  8. https://www.jstor.org/stable/23252141
  9. http://www.midnighteye.com/reviews/hitokiri/
  10. https://www.imdb.com/title/tt0200710/
  11. https://www.amazon.com/Hitokiri-izo-Japanese-Ryotaro-Shiba/dp/4101152039
  12. https://sitgesfilmfestival.com/en/film/2004/izo
  13. https://miff.com.au/festival-archive/films/12061/izo
  14. https://variety.com/2004/film/reviews/izo-1200530687/
  15. https://filmthreat.com/uncategorized/izo/
  16. https://mubi.com/en/notebook/posts/a-decade-with-takashi-miike-unwatchable-essential-izo-2004
  17. http://www.midnighteye.com/reviews/izo/
  18. https://archive.animeigo.com/liner/out-print/big-bang-love-juvenile.html
  19. https://www.onderhond.com/blog/izo-review-takashi-miike
  20. https://mubi.com/en/notebook/posts/another-decade-with-takashi-miike-an-introduction
  21. https://www.imdb.com/title/tt0377079/fullcredits/
  22. https://japanonfilm.wordpress.com/2024/02/04/izo-2004/
  23. https://filmmakermagazine.com/72046-ten-lessons-on-filmmaking-from-director-takashi-miike/
  24. https://www.screendaily.com/izo/4019160.article
  25. https://www.heroic-cinema.com/reviews/izo-2004/
  26. https://www.japantimes.co.jp/culture/2004/08/18/films/film-reviews/violence-and-swordplay-in-wild-wild-edo/
  27. https://www.dvdtalk.com/reviews/review/18581
  28. https://www.infinimata.com/2005/10/izo.html
  29. https://asianmoviepulse.com/2018/09/film-review-izo-2004-by-takashi-miike/
  30. https://www.jigsawlounge.co.uk/film/reviews/neil-youngs-film-lounge-izo/
  31. https://iffr.com/en/iffr/2005/films/izo
  32. https://www.imdb.com/title/tt0377079/releaseinfo/
  33. https://www.amazon.co.uk/Izo-World-Can-Never-allemand/dp/B000A1CF6G
  34. https://www.blu-ray.com/dvd/Izo-DVD/135402/
  35. https://www.amazon.com/Izo-Special-Kazuya-Nakayama/dp/B000AC7P3S
  36. https://www.justwatch.com/us/movie/izo
  37. https://reelgood.com/movie/izo-2004
  38. https://www.imdb.com/title/tt0377079/reviews/
  39. https://www.imdb.com/title/tt0377079/reviews?
  40. https://sitgesfilmfestival.com/en/festival/historia/2004/awards
  41. https://www.imdb.com/title/tt0377079/awards/
  42. https://nifff.ch/en/archives/2005/schedule/
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