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time to do things in one take, they ended up performing in what he described as a "more exaggerated, over-acted style, which is easier." Arguments would often erupt on set between the cast, crew as well as
Fujiwara's neighbors. Fujiwara stated that the two had always argued, but it got more difficult as they began working on films. Taguchi said that nearly every day they would lose a crew member, and towards the end only actors were showing up, leading to the cast members filling in for various technical roles. When Tsukamoto had to appear on screen, he would set up his shot and then have Fujiwara operate the camera. Fujiwara is credited in the film as an assistant director, costume designer, and the second director of photography. After four months of shooting, Tsukamoto began developing what footage he had in the editing room, which he had access to for free from former co-workers at Ide. While editing, Tsukamoto realized he needed more material and went to film
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507:. Working with enthusiastic supporters led to Tsukamoto being able to make films and plays without outside funding and outside influences from production companies. Following graduation in 1984, Tsukamoto entered into advertising agencies which he hoped would give him access to professional film equipment. It took 18 months before Tsukamoto was allowed to direct commercials. He recalled that in those eighteen months he was almost never at home, and that working as a corporate employee for long hours was a major influence on
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him until
Tsukamoto felt it looked right, only to find that the outfit was so heavy that Taguchi could not get up from his make-up chair. Initial tests led to Taguchi being in great discomfort, saying that at the end of a shooting day, his skin felt like sandpaper. As filming progressed, Taguchi's make-up and suit were refined so he could easily take off and on the suit. Like his 1980s short film work, a large portion of the film was shot in Fujiwara's apartment. Exteriors of the film were shot at
658:. Ishikawa had never scored a film before but felt excited to work with Tsukamoto after meeting with him and being intrigued by his personality. Ishikawa made music for long pieces of music for the film. Ishikawa was initially instructed to make music with only the sound of metal, which confused him, and then realized that he should follow his own instincts on the music instead of taking Tsukamoto's instructions literally.
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1020:, with the actor stating he always kept some distance between himself and the director which has led them to continue to work together. Tensions between Fujiwara and Tsukamoto made this film their last project together. Following work on the film, Fujiwara returned to stage work with Jūrō Kara and created her own stage company called Organ Vital in 1991. She made her own feature film titled
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lock himself away from his girlfriend. She approaches him saying she is not afraid of him, but as they have sex with his transformed penis, she stabs him in the neck. Falling into unconsciousness, the man regains consciousness sometime later to find his girlfriend has impaled herself on the drill, killing her.
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noted the film's low budget "works brilliantly: the stop-motion effects give the fusion of bared wires and exposed ganglia an unnervingly vivid physicality" and proclaimed that the film "remains one of the most pulverisingly effective sci-fi horror films of the past quarter of a century." In the book
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was complete, Tsukamoto settled on Nakano
Musashino Hall which could fit 80 people. The theatre was equipped with a projector that could handle 16mm film and had it set for late-night screenings in July. Tsukamoto described the location as "the smallest theatre in Tokyo". The film was distributed by
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Mes expanded on the themes of the film, stating that
Tsukamoto works from a Japanese context which involves the negative aspects of life in a metropolis like Tokyo. Tsukamoto saw city life, working office jobs, and spending hours commuting as "numbing the senses and robbing people of their humanity.
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iron factory, north of Tokyo. On traveling between locations, the cast members could not take their make-up off which
Tsukamoto recalled led to "People would look at us like we were crazy." Tsukamoto explained that the cast and crew "thought this film would be a parody." and that since they only had
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in the 1970s. Tsukamoto initially sent him a fan letter, and then asked him to appear in the film. The costumes in the film were made from scrap metal and small parts of electronic appliances stuck onto the actor with double-sided adhesive tape. This led to issues with
Taguchi who had metal added to
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Meanwhile, the victim of the hit-and-run accident recalls memories in the form of videos looping, recalling the moment of the accident and a doctor who tells him they discovered metal in his brain. The hit-and-run victim realizes he has telepathic powers and reaches out to the man and his girlfriend
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At home, the man sleeps next to his girlfriend and has a dream in which he is sodomized by organic metal machinery. Waking up, he either imagines or discovers that metal is taking over his body. When he attempts to have sex with his girlfriend, his penis becomes a metallic drill which leads him to
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of the film in
December 1988 which ran at 77 minutes in length. Tsukamoto found himself emotionally and physically exhausted during the editing process, especially on hearing loud banging noises from the sound effects in the film again and again. During the editing process, Tsukamoto's short film
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The man flees in a panic as a local tramp meets the car accident victim and starts beating him. The man and the victim eventually meet again finding their entire body more metal than flesh. The victim's tone changes from anger to love and says he needs to merge with the man as he is overcome with
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who wakes up to find pieces of metal sprouting from various parts of his body and becomes haunted by visions of metal-oriented sexual fantasies. As the man steadily becomes a hybrid of man and machine, he develops a connection with a victim from a hit-and-run accident, who is undergoing a similar
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in Rome, of which
Komatsuzawa was their Asian film correspondent. In June, the film won the Best Film award at the festival. Japanese film critic Ken Okubo spoke of the impact of the film winning the award, saying "It was a great surprise, not just for me but for everybody in Tokyo. Even before
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Tsukamoto finished editing the film in
January 1989 with a new running time of 67 minutes. Among the shortened scenes were the sex scene between Taguchi and Fujiwara's characters and removed the scene in which the doctor is murdered by Yatsu's character and a chase scene with Kanaoka where a tap
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films which were shot in black and white and when blown up to 16mm and 35mm projections, Tsukamoto felt the excessive grain produced interesting imagery with heavy film grain. The black and white also provided leverage with ratings certificates, since the blood would be hard to decipher. He then
569:. Among the major changes from his short film work, was changing from 8mm film to 16mm, which would make the film suitable for theatrical presentation. The film was initially going to be made as an additional short film, at about thirty minutes in length. The choice was made after seeing some
691:. The term became known as a subgenre of science fiction in both literature and film that explored the relation of the human body in an ever-growing urban landscape dominated by technology. Tsukamoto has given contradictory responses to his familiarity with the genre. In a 1993 interview in
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in late grade school and early high school, finding himself interested in what he described as the "dark edges" of the books. He recalled, "I had similar feelings from reading his books as leafing through SM magazines I read when I was in high school." Tsukamoto was also a fan of
997:, was discussed in the early 1990s but was never made. Tsukamoto stated he turned down the offers to make them in America as he was being told he would have to work with specific film stars and have short filming times to make the third film. Following Tsukamoto's work on
503:. Tsukamoto appreciated working in plays as it led to immediate feedback from audiences, who started out as spectators, who would want to work with him. Among the early people who reached out to Tsukamoto was Nobu Kanaoka who had roles in Tsukamoto's 1980s short films and
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The film was the first feature-length film by
Tsukamoto after he spent his youth creating film shorts and entering Japanese experimental theatre. Through his theatre work, he met like-minded people to perform in plays and later short films such as
487:. Tsukamoto has since had very mixed feelings on these early films, even only letting his wife see them in 2002. Tsukamoto became frustrated with film work towards the end of the 1970s and began focusing on stage work while entering University.
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analogy and a metaphor for the Japanese encroachment on the world market. Rayns declared that the film only had "few token gestures towards storytelling." and that he only found traces of satirical elements within the aggressive imagery.
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in high school. One day while he was still in school, Tsukamoto's father brought home an 8mm camera which Shinya soon inherited. He began making short and feature-length amateur films with his brother by 1974, which were initially
313:, later finds a metallic thorn protruding from his cheek while shaving. On his way out to a subway station, he is attacked and chased by a woman who sprouts metallic tentacles. The man later finds metallic scabs on his own skin.
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Following the award won at Fantafestival, the film was screened in Tokyo for three months at late shows which were around 9pm, which is the Japanese equivalent of a midnight screening. According to Chikako Shimoaka of
711:. In other interviews, Tsukamoto expressed he was unfamiliar with the term when making the film, and that he had intended the film to showcase the eroticism of comparing metal with human flesh. Tsukamoto felt that
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The film was distributed in the United States by Original Cinema in early 1992 and in England in September 1991. It was released on home video in 1993 by Fox Lorber in the United States. DVDs was later released by
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Discussing the plot, which Savlov found to be "less a coherent plot than a series of disturbing images loosely struck together" found the film worked on several levels, suggesting it could both be viewed as an
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For the film's score, Tsukamoto desired music that sounded like reoccurring metallic percussion sounds. Through an acquaintance, Tsukamoto found a tape by a group titled Zeitlich Vergelter led by the musician
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and Taguchi. Filming proved to be difficult with much of the cast and crew abandoning the production with only Taguchi and Tsukamoto arriving on set to finish the film. After winning the Grand Prize at the
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Tsukamoto had performed and directed plays in high school, finding that they were "quite conventional" and that he preferred to do more experimental theatre. Tsukamoto specifically spoke about the work of
674:," and that when he made the film, he was "preoccupied with chaos, so I was trying to integrate the horror with the science fiction that I had within me." Tsukamoto expanded on this in an interview with
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shots which continued until the end of 1988. Tsukamoto ran out of money while filming, and made a trailer to show to potential film distributors to gain further funding. Through his connections at the
780:"an artist without an appreciative domestic audience, somehow finds fans and praise abroad, and returns home a folk hero." The film broke box office and records for non-mainstream cinema in Japan.
483:. Tsukamoto stated that from Kurosawa he learned that one could work with light to manipulate the images on film, which Tsukamoto's biographer Tom Mes stated would anticipate his work in
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While developing a poster to promote the film, Tsukamoto approached film critic Yoichi Komatsuzawa for a promotional quote for the film. Komatsuzawa proposed to submit the film to the
523:, even letting him film large portions of it at her home. By 1986, Tsukamoto quit his job at the Ide Production advertising company, with the intention of returning to filmmaking.
2000:
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In 1993, Tsukamoto lamented the budget constraints of the film, initially wanting to have a scene with a long take and a long shot of the Salaryman's home becoming metal.
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rust that is attacking his body. The two merge into a giant metallic monster, and take to the streets of the city convinced they can mutate the entire world into metal.
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When asked about the film's meaning, Tsukamoto responded that he felt it was about "the process in which human beings become 'Iron'; that is, it's some kind of
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in Japan. He stated getting the award felt like "walking out of the darkness into a bright light" and helped him get motivation to finish editing the film.
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declared the film "remains one of the most pulverisingly effective sci-fi horror films of the past quarter of a century." In Japan, the film magazine
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After a young man inserts scrap metal into a self-inflicted wound on his thigh, he becomes a victim in a hit-and-run accident. The driver, a typical
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found the film to be "67 of the most relentlessly intense minutes in recent film history" and that "nightmarish hyper-reality about it". Rayns and
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performed extremely well with over 10,000 copies on home video by 1992. Mark Thompson commented on the films new reception in Japan, by saying like
758:, older Japanese film directors would submit their films to foreign festivals, but there was no real excitement from the audience for those films."
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2538:
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729:", while finding his work was different from cyberpunk, as he found the genre dealt with the period after the destruction of modern cities.
585:, with actors Tomorowo Taguchi, Nobu Kanaoka, and Tsukamoto portraying similar roles to the short. Other actors included Naomasa Musaka and
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2010:
546:, who had met Tsukamoto when he was performing in a theatre production that Tsukamoto had seen. They two collaborated on a play titled
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and later was cast in this short as a salaryman. Mes noted the short had themes and elements that would be expanded upon in
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Scoopic 16mm camera with 10 reels of black and white film stock and began production on the film in September 1987.
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while still finding the film to be an original film that was difficult to parse. Tsukamoto directed a sequel titled
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noting the mismatched elements of the show gave it a surreal flavor, which he felt led him to become interested in
980:(1988) "spurred the emergence of an increasingly visceral and graphically violent wave of Japanese horror films."
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does not have a conventional narrative. This plot synopsis is adapted from a home video release and a synopsis in
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in Italy, the film grew in popularity in Japan, becoming a top seller on home video for non-mainstream cinema.
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echoed this, noting the film "catches a lost spirit of pure, kinetic filmmaking" while Richard Harrington of
519:, who had been a member of Jūrō Kara's company. Fujiwara would appear in Tsukamoto's later shorts as well as
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whose body eventually turns into scrap metal. The film was shot in less than a week. Among the cast was
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group. His plays retained the experimental style of his previous stage work, and connected him with
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generally felt that the film would only have a limited appeal to fans of more bizarre genre films.
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in 1992, stating an interest in the erotic elements of juxtaposing a soft body against hard iron.
471:. He began expanding his film input in high school, with the first non-monster movie he saw being
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989:(1992) was made with more of a narrative to reach a wider audience. Attempt to make a third
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as being "one of the most influential Japanese horror films ever produced" which along with
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such as a woman with a metallic claw hand and the adverse effects of city life on people.
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1996:
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Shimoaka, Chikako (8 August 1992). "Tsukamoto Creates 'Cyberpunk' Film Masterpieces".
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in 1996 based on one of her own plays that was also self-financed and shot on 16mm.
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In his films he wants to wake up his countrymen in the most extreme ways possible."
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707:(1983) and became aware of the burgeoning cyberpunk movement which led him to make
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511:. Tsukamoto was able to return to doing theatre work in 1985 where he created the
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From contemporary reviews, critics commented on the film's originality and what
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Mes described the pivotal element that made the film popular outside Japan was
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found that the film became wearying on repeated watches, and only Tsukamoto's
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initially to menace them, but then to promise the man a "new world of metal".
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930:, 84% of 19 critics' reviews are positive, with an average rating of 7.1/10.
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687:. Cyberpunk had been derived from the 1983 short story by American writer
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suggested the final budget of the film was approximately $ 100,000 while
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referred to as a "gleefully extremist" style. Dan Persons writing in
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Taguchi was the only actor to continue working with Tsukamoto from
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included the film on their list of top 200 Japanese films in 2009.
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Outside Japan, critics compared the film to the work of directors
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Thompson, Mark (26 September 1992). "Metal Heads Invade Tokyo".
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included director Akira Kurosawa and stage director Jūrō Kara.
2193:(9 July 1992). "Tsukamoto's Horrific Yet Humorous 'Tetsuo'".
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as an influence, whose work often dealt with themes such as
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who were able to invest money to get the film completed.
2001:"Review/Film; Forgoing the Flesh for Metallic Pleasures"
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1971:"Solid Metal Nightmares: The Films of Shinya Tsukamoto"
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Alexander, Dave (May 2005). "Sick Inside the Machine".
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s visceral impact. In 2009, the Japanese film magazine
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The film's narrative was built upon his previous short
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at number 97 on their list of top 200 Japanese films.
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Persons, Dan (February 1993). "Tetsuo The Iron Man".
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film with American collaborators, including director
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Nightmare Japan: Contemporary Japanese Horror Cinema
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Nightmare Japan: Contemporary Japanese Horror Cinema
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2131:(September 1991). "Tetsuo (Tetsuo: The Iron Man)".
458:. Tsukamoto spoke specifically being interested in
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1909:Brooke, Michael (November 2012). "New Releases".
800:set, a collection of Shinya Tsukamoto's films on
1892:Alexander, Dave (May 2005b). "Tokyo Extremes".
229:. The film centers around an unnamed Japanese
211:
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886:From retrospective reviews, Michael Brooke of
611:and F2 distributing, Tsukamoto connected with
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1003:(2004), he spoke about returning for a third
589:who had worked in major film studios such as
8:
1665:. Arrow Video. 11 March 2020. Archived from
942:Director Shinya Tsukamoto in 2009, the year
2117:Price, Michael H. (15 May 1993). "Sly Fi".
225:directed, written, produced, and edited by
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565:was shot back to back with the short film
29:
20:
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746:Kaijyu Theatre in Japan on July 1, 1989.
2081:Iron Man: The Cinema of Shinya Tsukamoto
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1785:"Tetsuo: The Iron Man | Rotten Tomatoes"
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697:, Tsukamoto stated he was impressed by
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16:1989 Japanese film by Shinya Tsukamoto
2549:Japanese science fiction horror films
2035:The Definitive Guide to Horror Movies
1920:Felperin, Leslie (4 September 2009).
1808:
1621:
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893:The Definitive Guide to Horror Movies
7:
1942:Harrington, Richard (24 July 1992).
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2554:1980s science fiction horror films
2534:Films directed by Shinya Tsukamoto
2152:Savlov, Marc (11 September 1992).
983:Tsukamoto stated that the sequel,
848:compared the film to the works of
479:, American films and the works of
346:Nobu Kanaoka as a Woman in glasses
14:
2544:Films using stop-motion animation
646:won the Grand Prize award at the
625:stated the budget was 13 million
792:under their Asia Extreme label.
452:films and the television series
393:
381:
2524:Japanese black-and-white films
2083:. Surrey, England: FAB Press.
440:series as a child, seeing the
429:and other children's books by
303:using notes from the director.
1:
1969:Hendrix, Grady (March 2020).
1944:"'Tetsuo: The Iron Man' (NR)"
1761:(in Japanese). Archived from
421:Background and pre-production
343:as the Salaryman's girlfriend
268:. In 2012, Michael Brooke of
2539:Films scored by Chu Ishikawa
2104:. Vol. 23, no. 5.
1915:. Vol. 22, no. 11.
1752:「オールタイム・ベスト 映画遺産200」全ランキング公開
644:The Adventure of Denchu Kozo
567:The Adventure of Denchu Kozo
548:The Adventure of Denchu Kozo
352:as the Young Metal Fetishist
2427:("Tamamushi" segment, 2005)
2135:. Vol. 1, no. 5.
583:The Phantom of Regular Size
528:The Phantom of Regular Size
526:Tsukamoto's first work was
425:As a child, Tsukamoto read
212:
2585:
2569:1989 science fiction films
1738:Marriott & Newman 2018
355:Naomasa Musaka as a Doctor
534:made with members of his
206:
35:Theatrical release poster
28:
2263:
2120:Fort Worth Star-Telegram
1751:
721:(1982) and Cronenberg's
2564:1989 in Japanese cinema
2269:Japanese Movie Database
1922:"Tetsuo the Bullet Man"
905:came close to reaching
2448:Tetsuo: The Bullet Man
2357:Tetsuo II: Body Hammer
2154:"Tetsuo: The Iron Man"
2137:British Film Institute
1789:www.rottentomatoes.com
1659:"Release Date Updates"
1010:Tetsuo: The Bullet Man
986:Tetsuo II: Body Hammer
949:
945:Tetsuo: The Bullet Man
798:Solid Metal Nightmares
725:were "two parents of
365:Cast adapted from the
265:Tetsuo II: Body Hammer
192:$ 100,000 to $ 130,000
2440:Nightmare Detective 2
952:Jay McRoy, author of
941:
907:Tetsuo: The Iron Man'
406:Early influences for
156:1 July 1989
2559:1980s Japanese films
2330:Tetsuo: The Iron Man
2243:Tetsuo: The Iron Man
2232:Tetsuo: The Iron Man
2221:Tetsuo: The Iron Man
2159:The Austin Chronicle
1018:Tetsuo: The Iron Man
958:Tetsuo: The Iron Man
917:Tetsuo: The Iron Man
806:Tetsuo: The Iron Man
770:Tetsuo: The Iron Man
743:Tetsuo: The Iron Man
709:Tetsuo: The Iron Man
662:dance is performed.
637:Tsukamoto created a
563:Tetsuo: The Iron Man
552:Tetsuo: The Iron Man
521:Tetsuo: The Iron Man
509:Tetsuo: The Iron Man
505:Tetsuo: The Iron Man
485:Tetsuo: The Iron Man
412:Tetsuo: The Iron Man
291:Tetsuo: The Iron Man
200:Tetsuo: The Iron Man
24:Tetsuo: The Iron Man
2432:Nightmare Detective
2056:McRoy, Jay (2008).
1949:The Washington Post
1671:on 26 February 2022
835:The Washington Post
808:, on May 26, 2020.
786:Image Entertainment
473:Bitterness of Youth
218:is a 1989 Japanese
2475:Fires on the Plain
2313:Films directed by
2006:The New York Times
1765:on 27 January 2011
1740:, p. 268-269.
1007:film which became
950:
880:The New York Times
2519:1989 horror films
2501:
2500:
2349:Hiruko the Goblin
2196:Los Angeles Times
2166:on 6 October 2021
2133:Sight & Sound
2079:Mes, Tom (2005).
2071:978-90-420-2331-4
1999:(22 April 1992).
1912:Sight & Sound
995:Quentin Tarantino
924:review aggregator
888:Sight & Sound
845:Los Angeles Times
823:Sight & Sound
648:PIA Film Festival
609:PIA Film Festival
477:Tatsumi Kumashiro
427:Shōnen tantei dan
367:Sight & Sound
296:Sight & Sound
271:Sight & Sound
196:
195:
2576:
2400:A Snake of June
2315:Shinya Tsukamoto
2307:
2300:
2293:
2284:
2279:
2277:
2275:
2209:
2200:
2186:
2175:
2173:
2171:
2162:. Archived from
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2113:
2094:
2075:
2052:
2022:
2020:
2018:
2009:. Archived from
1992:
1990:
1988:
1983:on 30 March 2020
1979:. Archived from
1965:
1963:
1961:
1952:. Archived from
1938:
1936:
1934:
1916:
1905:
1888:
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1854:
1848:
1847:, p. 91-92.
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1473:, p. 44-45.
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1164:
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1145:, p. 20-21.
1140:
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1128:
1122:
1116:
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1098:
1092:
1083:
1077:
1068:
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858:David Cronenberg
699:David Cronenberg
613:Japan Home Video
544:Tomorowo Taguchi
408:Shinya Tsukamoto
397:
385:
350:Shinya Tsukamoto
337:as the Salaryman
335:Tomorowo Taguchi
256:David Cronenberg
234:transformation.
227:Shinya Tsukamoto
217:
215:
209:
208:
163:
161:
111:Shinya Tsukamoto
97:Shinya Tsukamoto
83:Shinya Tsukamoto
74:Tomorowo Taguchi
62:Shinya Tsukamoto
54:Shinya Tsukamoto
45:Shinya Tsukamoto
33:
21:
2584:
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2579:
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2573:
2529:Cyberpunk films
2504:
2503:
2502:
2497:
2454:
2387:
2336:
2317:
2311:
2273:
2271:
2267:(in Japanese).
2265:
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2237:Rotten Tomatoes
2216:
2206:The Japan Times
2203:
2189:
2182:The Japan Times
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2151:
2127:
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2101:Cinefantastique
2097:
2091:
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2027:Marriott, James
2025:
2016:
2014:
1997:Holden, Stephen
1995:
1986:
1984:
1968:
1959:
1957:
1956:on 24 July 2008
1941:
1932:
1930:
1919:
1908:
1896:. No. 45.
1891:
1879:. No. 45.
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1690:Harrington 1992
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1583:Alexander 2005b
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972:Toshiharu Ikeda
936:
928:Rotten Tomatoes
829:Cinefantastique
814:
765:The Japan Times
739:
694:Cinefantastique
677:The Japan Times
672:human condition
668:
635:
633:Post-production
622:The Japan Times
617:Cinefantastique
587:Renji Ishibashi
560:
538:group, about a
423:
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2013:on 26 May 2015
1993:
1966:
1939:
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1868:
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1825:
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1813:
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1626:
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1530:
1526:Alexander 2005
1518:
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1099:
1097:, p. 118.
1084:
1082:, p. 211.
1069:
1037:
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1034:
1031:
977:Evil Dead Trap
935:
932:
897:James Marriott
875:Stephen Holden
813:
810:
774:Akira Kurosawa
738:
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481:Akira Kurosawa
469:monster movies
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2199:. p. F8.
2198:
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2123:. p. F2.
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1612:, p. 15.
1611:
1610:Thompson 1992
1606:
1604:
1600:
1597:, p. 58.
1596:
1591:
1588:
1585:, p. 19.
1584:
1579:
1576:
1573:, p. 60.
1572:
1567:
1565:
1561:
1558:, p. 51.
1557:
1552:
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1546:
1543:, p. 59.
1542:
1537:
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1531:
1528:, p. 18.
1527:
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1519:
1516:, p. 57.
1515:
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1500:
1497:, p. 55.
1496:
1491:
1488:
1485:, p. 46.
1484:
1479:
1476:
1472:
1467:
1464:
1460:
1459:Shimoaka 1992
1455:
1453:
1451:
1449:
1447:
1443:
1440:, p. 54.
1439:
1434:
1432:
1430:
1428:
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1420:
1417:, p. 53.
1416:
1411:
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1405:, p. 52.
1404:
1399:
1397:
1393:
1390:, p. 52.
1389:
1384:
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1361:, p. 51.
1360:
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1349:, p. 50.
1348:
1343:
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1337:
1334:, p. 49.
1333:
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1322:
1319:, p. 41.
1318:
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1307:, p. 39.
1306:
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1295:, p. 37.
1294:
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1283:, p. 36.
1282:
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1270:
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1256:, p. 34.
1255:
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1244:, p. 33.
1243:
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1232:, p. 32.
1231:
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1223:
1220:, p. 31.
1219:
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1208:
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1204:
1199:
1196:
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1192:
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1180:
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1156:
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1132:
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795:
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751:Fantafestival
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2329:
2328:
2272:. Retrieved
2257:Midnight Eye
2242:
2231:
2220:
2205:
2194:
2180:
2168:. Retrieved
2164:the original
2157:
2132:
2118:
2099:
2080:
2057:
2034:
2015:. Retrieved
2011:the original
2004:
1985:. Retrieved
1981:the original
1976:Film Comment
1974:
1958:. Retrieved
1954:the original
1947:
1931:. Retrieved
1925:
1910:
1893:
1874:
1852:
1840:
1828:
1816:
1811:, p. 8.
1804:
1792:. Retrieved
1788:
1779:
1767:. Retrieved
1763:the original
1758:Kinema Junpo
1756:
1745:
1733:
1721:
1709:
1697:
1685:
1673:. Retrieved
1668:the original
1662:
1653:
1646:Hendrix 2020
1641:
1629:
1617:
1590:
1578:
1556:Persons 1993
1521:
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1388:Persons 1993
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840:Kevin Thomas
833:
827:
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804:, including
797:
790:Tartan Video
782:
778:Shonen Knife
776:or the band
769:
763:
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748:
742:
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731:
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722:
718:Blade Runner
716:
713:Ridley Scott
708:
702:
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689:Bruce Bethke
682:
675:
669:
660:
656:Chu Ishikawa
652:
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582:
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574:purchased a
571:Derek Jarman
566:
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536:Kaiju Shiata
535:
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517:Kei Fujiwara
513:Kaiju Shiata
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277:Kinema Junpo
275:
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240:Kei Fujiwara
236:
199:
198:
197:
172:Running time
149:Release date
120:Chu Ishikawa
100:Kei Fujiwara
79:Kei Fujiwara
18:
2129:Rayns, Tony
2031:Newman, Kim
1933:4 September
1794:4 September
1726:Holden 1992
1714:Savlov 1992
1702:Thomas 1992
1095:Brooke 2012
970:(1982) and
854:David Lynch
794:Arrow Video
260:David Lynch
223:horror film
59:Produced by
41:Directed by
2514:1989 films
2508:Categories
2365:Tokyo Fist
2037:. London:
1894:Rue Morgue
1876:Rue Morgue
1809:McRoy 2008
1622:Price 1993
1065:Rayns 1991
1033:References
967:Burst City
962:Sogo Ishii
948:premiered.
902:Tokyo Fist
818:Tony Rayns
723:Videodrome
704:Videodrome
532:short film
464:surrealism
373:Production
301:Tony Rayns
176:67 minutes
160:1989-07-01
127:Production
51:Written by
2264:鉄男 ＴＥＴＳＵＯ
2145:0037-4806
2110:0145-6032
2033:(2018) .
1902:1481-1103
1885:1481-1103
956:declared
850:Sam Raimi
812:Reception
685:cyberpunk
639:rough cut
600:Kawaguchi
540:salaryman
497:matricide
493:Jūrō Kara
400:Jūrō Kara
311:salaryman
252:Sam Raimi
231:salaryman
108:Edited by
2248:AllMovie
1845:Mes 2005
1833:Mes 2005
1821:Mes 2005
1663:Facebook
1634:Mes 2005
1595:Mes 2005
1571:Mes 2005
1541:Mes 2005
1514:Mes 2005
1495:Mes 2005
1483:Mes 2005
1471:Mes 2005
1438:Mes 2005
1415:Mes 2005
1403:Mes 2005
1359:Mes 2005
1347:Mes 2005
1332:Mes 2005
1317:Mes 2005
1305:Mes 2005
1293:Mes 2005
1281:Mes 2005
1269:Mes 2005
1254:Mes 2005
1242:Mes 2005
1230:Mes 2005
1218:Mes 2005
1203:Mes 2005
1191:Mes 2005
1179:Mes 2005
1167:Mes 2005
1155:Mes 2005
1143:Mes 2005
1131:Mes 2005
1119:Mes 2005
1107:Mes 2005
1080:Mes 2005
1013:(2009).
926:website
701:'s film
591:Nikkatsu
449:Godzilla
369:review.
361:as Tramp
116:Music by
67:Starring
2483:Killing
2274:19 July
2170:22 July
2017:22 July
1987:1 April
1960:22 July
1927:Variety
1867:Sources
1769:22 July
1675:1 April
922:On the
915:placed
802:Blu-ray
737:Release
605:pick-up
558:Filming
460:Ultra Q
455:Ultra Q
181:Country
158: (
129:company
2494:(2023)
2486:(2018)
2478:(2014)
2470:(2011)
2467:Kotoko
2451:(2009)
2443:(2008)
2435:(2006)
2424:Female
2419:(2005)
2411:(2004)
2403:(2002)
2384:(1999)
2381:Gemini
2376:(1998)
2368:(1995)
2360:(1992)
2352:(1991)
2333:(1989)
2253:Review
2143:
2108:
2087:
2068:
2062:Rodopi
2045:
1900:
1883:
1005:Tetsuo
991:Tetsuo
934:Legacy
756:Tetsuo
727:Tetsuo
501:incest
443:Gamera
289:Note:
258:, and
213:Tetsuo
189:Budget
2459:2010s
2408:Vital
2392:2000s
2341:1990s
2322:1980s
1023:Organ
1000:Vital
741:When
666:Style
576:Canon
437:kaiju
184:Japan
2416:Haze
2276:2007
2226:IMDb
2172:2023
2141:ISSN
2106:ISSN
2085:ISBN
2066:ISBN
2043:ISBN
2019:2023
1989:2020
1962:2023
1935:2023
1898:ISSN
1881:ISSN
1796:2024
1771:2023
1677:2020
870:AIDS
860:and
788:and
595:Toei
593:and
530:, a
499:and
446:and
329:Cast
284:Plot
2255:at
2246:at
2235:at
2224:at
974:'s
964:'s
877:of
842:of
820:in
715:'s
627:yen
475:by
410:on
299:by
2510::
2156:.
2139:.
2064:.
2060:.
2041:.
2029:;
2003:.
1973:.
1946:.
1924:.
1787:.
1755:.
1661:.
1602:^
1563:^
1548:^
1533:^
1502:^
1445:^
1422:^
1395:^
1366:^
1339:^
1324:^
1261:^
1210:^
1087:^
1072:^
1041:^
895:,
856:,
852:,
768:,
629:.
254:,
210:,
207:鉄男
2306:e
2299:t
2292:v
2278:.
2208:.
2185:.
2174:.
2147:.
2112:.
2093:.
2074:.
2051:.
2021:.
1991:.
1964:.
1937:.
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162:)
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