As the police launch a full-scale crackdown on organized crime, it ignites a national yakuza struggle between the Sanno of the East and Hanabishi of the West. What started as an internal strife in Outrage has now become a nationwide war in Outrage Beyond. –TIFF
“Beat” Takeshi Kitano is widely considered to be Japan’s foremost media personality. In addition to his work in the film industry he is an active newspaper columnist, an author and poet, and a ubiquitous presence on Japanese television where he can be seen in up to eight prime time shows per week.Kitano first found fame, as well as his “Beat” nickname, in the early ‘70s as one-half of the manzai comedy duo The Two Beats, a fast-paced, cross-talk act that thrilled audiences with their off-color humor and satirical bite. Throughout the early ’80s, Kitano acted in a number of films, most memorably in Nagisa Oshima’s Merry Christmas, Mr. Lawrence (1983).
In 1989 Kitano added another facet to his career — serious film director. He was set to star in a police thriller that was to be directed by gangster film veteran Kinji Fukasaku. When Fukasaku had to leave the film, the film’s producers offered Kitano the directing chores. He reworked the script and the result was Violent Cop, a… read more
When Otomo emerges from prison, we expect revenge -- and considering the vicious, volatile nature of the man we knew in the first film, we expect that revenge to be bloody, ruthless and extraordinary. What we get instead is a changed man: He's tired, old, hesitant; even conciliatory at times. Frustrated with the redundant, pretentious mob rules he used to live by. Most of the violence, even, is off-screen. Meanwhile, the cool, confident up-and-comers of the first film have become pampered, angry whiners desperate to hold onto their power. This is all explored with the director's typical deadpan subtlety, and in the complex, twisting world of "Outrage Beyond," the elegant little change of character is what gives the film its heart.
A mise en scene of such punctilious rigour as Kitano’s has proved palatable, not least in Outrage. In Beyond, it remains tightly polished, but, while inextricably tangled in its realpolitik, arises more coherently pronounced - magnified from the intra-level (micro) to the macro, embroiling politics, police into a systemic tapestry; envisaging farcical internecine symbiosis, wherein Kitano works on the schematic over violence, in contrast to the original. The shock factor might've dissipated, but the drama undergoes an assured, tantalising renewal herein.
Our critics’ TIFF dialogue comes to a close with films by Sarmiento, Ruiz, Kitano, Radwanski and Cohen.
The Noteworthy returns with Locarno coverage, new trailers, Stanley Kubrick’s favourite TV commercial and remembrances of Tony Scott.