Our Takashi Miike retrospective continues with the conclusion to his Black Society Trilogy, which tackles intercultural relations between Japan and China. With Ley Lines, Miike admirably pushes his buoyant style and subversive politics as far as they can go inside the form of a youthful crime film.
We continue to pay tribute to Takashi Miike’s inexhaustible ingenuity with this early gangster picture of his. Set in a Taiwan drowned by rain, Miike’s watershed themes of family and cultural displacement mutually drive the action to uncanny heights. A key film from an expansive oeuvre.
This year Takashi Miike made his 100th film—and we interviewed him about it. This season we’ll honor the maverick director by showing some of our favorites from his epic oeuvre, beginning with the prodigious direct-to-video filmmaker’s first proper movie for cinemas, a gonzo genre paean to outcasts.