A world-weary yakuza in Tokyo is assigned to take his clan to Okinawa to help settle a dispute between two factions. He’s suspicious of the assignment, but he goes, and within a couple days, his role remains unclear and several of men are dead. He retreats to a house on a remote beach to wait. The first night there , he rescues a young woman from an assault, and they develop a playful relationship. Over time, it becomes clear he’s been set up, sent to Okinawa so that others can take over his lucrative territory. As his clan dwindles, he plans a revenge. But, what if he’s successful? What is there to life anyway? –IMDb
“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
SONATINE felt like empty spaces, which men enter, disarrange, then, after immortalizing the disarrangement, leave. only that men are also empty places. Rituals and protocols motorize the narrative and culminate in games. I often thought of Ulrich Seidl, but where his pictures emanate austerity, Kitano composes the inevitable.
An exploratory commedia of violence that cast shades light and dark. Kitano's character in a passive and Keatonian manner manages his way through the film's events as though at times a passing observer The sheer brutality is shown either in quiet scenes or staged dramatics, each death its own image. Strangely affecting and powerful cinema.