The Pornographers: Limited Edition – Radiance Films (4k UHD/Blu-ray Combo)

Theatrical Release Date: Japan, 1966
Director: Shōhei Imamura
Writers: Shōhei Imamura, Koji Numata
Cast: Shōichi Ozawa, Sumiko Sakamoto, Keiko Sagawa, Masaomi Kondô, Haruo Tanaka, Ganjirô Nakamura, Chôchô Miyako, Kō Nishimura, Ichirō Sugai, Shinichi Nakano, Kazuo Kitamura, Asao Uchida

Release Date: June 22nd, 2026
Approximate Running Time: 128 Minutes 12 seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265
Rating: 18 (UK)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region Free (4K UHD), Region B (Blu-ray)
Retail Price: £24.99 (UK)

"A former Buddhist monk turned erotic filmmaker, Subuyan lives with hairdresser Haru and her two teenage children. Shooting two skin flicks per day, he somehow manages to stay out of the clutches of the yakuza, but real trouble starts when Haru discovers him lusting after her daughter." - synopsis provided by the distributor

Video: 5/5 (4K UHD), 4.5/5 (Blu-ray)

Here’s the information provided about this release's transfer, “The Pornographers was digitally restored in 2026 by Radiance Films from a 35mm original negative preserved by Nikkatus Corporation, and this 4K restoration commemorates the 100th anniversary of master director Shohei Imamura's birth.

Restored by Nikkatsu Corporation, Radiance Films

Film scanned by Imagica Entertainment Media Services, Inc.

Digital Restoration Services: Heavenly Movie Corporation"

The Pornographers comes on a 100 GB triple layer 4K UHD.

Disc Size: 89.9 GB

Feature: 88.8 GB

The source looks excellent; flesh tones look healthy; contrast, black levels, image clarity, and compression are solid; and the image always retains an organic appearance.

The Pornographers comes on a 50 GB dual layer Blu-ray.

Disc Size: 46.1 GB

Feature: 35.7 GB

This Blu-ray uses the same master that is used for the 4K UHD disc.

Audio: 4.5/5

This release comes with one audio option, a DTS-HD mono mix in Japanese with removable English subtitles. The audio sounds excellent, dialogue always comes through clearly, everything sounds balanced, and ambient sounds are well-represented.

Extras:

There are no extras on the 4K UHD disc.

Extras on the Blu-ray disc include a theatrical trailer (3 minutes 13 seconds, Dolby Digital mono Japanese with removable English subtitles), an interview with actor Masaomi Kondo (21 minutes 13 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with Steve Corbeil, who discusses author Akiyuki Nosaka (24 minutes 55 seconds, Dolby Digital stereo English, no subtitles), and an interview with film critic Tony Rayns, who discusses the cinema of Shōhei Imamura (46 minutes 50 seconds, Dolby Digital stereo English, no subtitles).

Other extras include a reversible cover art; a removable OBI strip leaving packaging free of certificates and markings; and a 20-page booklet (limited to 3,000 copies) with cast & crew information, an essay titled Flesh and Blood written by Jasper Sharp, and information about the transfer.

Summary:

Shôhei Imamura directed The Pornographers. He’s known for Pigs and Battleships, The Insect Woman, Intentions of Murder, Vengeance Is Mine, The Ballad of Narayama, Zegen, Black Rain, and Warm Water Under a Red Bridge.

Subuyan is a former Buddhist monk who now works as a pornographer and lives with a hairdresser and her two children. Although he is romantically involved and sees himself as a family man to her children, he struggles to control his desires for her daughter. When the police cracked down on pornography, his professional and personal lives unravel to the point where he ultimately isolates himself.

While the film’s provocative title, The Pornographers, clearly indicates the protagonist's profession, there is much more to him and the characters that populate the story. The protagonist and the other characters in the story are much more complex than their initial appearances suggest. Some of the themes explored in The Pornographers include societal norms, desire, obsession, voyeurism, and taboo subject matter that delves into morality.

The Pornographers is a film that straddles several genres, notably drama, erotica, and comedy. In the case of the latter, its humor is firmly in black comedy. While there are elements of The Pornographers that are in line with Pinku Eiga films, it actually underplays erotic moments when compared to films from that genre.

The entire cast is excellent in the roles, especially Shōichi Ozawa’s portrayal of Subuyan, a man who’s stubbornness often derails him. A frequent collaborator of Shōhei Imamura, Subuyan is the biggest role of Shōichi Ozawa’s career. Another performance of note is Sumiko Sakamoto’s portrayal of Haru, Subuyan’s common-law wife. Her character has the most visually arresting moment. It is a surreal scene where Haru is behind bars inside of a hospital dancing and when the camera pulls back, Haru is still behind bars in the middle of a barren landscape.

The narrative, which lasts 128 minutes, contains numerous moving parts. Although the narrative unfolds in a linear way, it still feels disjointed. That said, the opening setup does a superb job fleshing out its main characters. Through all of its peaks and valleys, the narrative always holds your attention as it effectively builds to an ironic finale that serves as a perfect exclamation point.

The way in which the camera moves immediately grabs you. Instead of master shots or close-ups, the visuals take on a voyeuristic approach that frames people outside of windows or through objects. The visuals often employ surrealism and symbolism; in the case of the latter, a motif with a carp that Haru believes is her dead husband reincarnated. Ultimately, The Pornographers is an extraordinary cinematic experience that feels as modern today as the day it was released.

The Pornographers gets a definitive release from Radiance Films that comes with a solid audio/video presentation and insightful extras. Highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer

Warm Water Under a Red Bridge: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 2001
Director: Shōhei Imamura
Writers: Shōhei Imamura, Daisuke Tengan, Motofumi Tomikawa
Cast: Kōji Yakusho, Misa Shimizu, Mitsuko Baisho, Mansaku Fuwa, Isao Natsuyagi, Yukiya Kitamura, Hijiri Kojima

Release Date: June 22nd, 2026 (UK)
Approximate Running Time: 119 Minutes 21 Seconds
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 15 (UK)
Sound: LPCM Stereo Japanese
Subtitles: English
Region Coding: Region B
Retail Price: £14.99 (UK)

"When a dying friend tells out-of-work salaryman Yosuke (Koji Yakusho, Perfect Days) about a hidden treasure, he sets off in search of the only clue about its location: a house by a red bridge. What he finds instead is a woman who transcends all his fantasies." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, “Warm Water Under a Red Bridge was transferred in high-definition by Nikkatsu Corporation and supplied to Radiance Films as a high-definition digital file.”

Warm Water Under a Red Bridge comes on a 50 GB dual layer Blu-ray.

Disc Size: 42.2 GB

Feature: 34.9 GB

The thing that immediately grabbed me while watching this transfer is how much of a stronger encode it is compared to Film Movements' 2025 Blu-ray release. Flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4.25/5

This release comes with one audio option, a LPCM stereo mix in Japanese with removable English subtitles. The audio sounds clear and balanced, and ambient sounds are well represented.

Extras:

Extras for this release include a theatrical trailer (2 minutes 5 seconds, Dolby Digital stereo Japanese with removable English subtitles), a theatrical teaser trailer directed by Takashi Miike, with newly filmed intro (4 minutes 18 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival Making of documentary shot on location (22 minutes 23 seconds, Dolby Digital stereo Japanese with removable English subtitles), an archival discussion between Shohei Imamura and Takashi Miike that originally aired on Japanese TV (22 minutes 20 seconds, Dolby Digital stereo Japanese with removable English subtitles), an interview with screenwriter Daisuke Tengan (21 minutes 23 seconds, Dolby Digital stereo Japanese with removable English subtitles), reversible cover art, a removable OBI strip leaving packaging free of certificates and markings; and a 20-page booklet (limited to 3,000 copies) with cast & crew information, an essay titled Water is Life written by Bastian Meiresonne, and information about the transfer. The Takashi Miike introduction can also be played before the main feature.

Summary:

Shôhei Imamura directed Warm Water Under a Red Bridge. He’s known for Pigs and Battleships, The Insect Woman, Intentions of Murder, The Pornographers, Vengeance Is Mine, The Ballad of Narayama, Zegen, and Black Rain.

A salaryman visiting a seaside town falls in love with a woman who has a most unusual way of climaxing during sex.

Although Warm Water Under a Red Bridge begins as a story about a man searching for an object hidden in a house by someone he knew, it evolves into a romantic comedy about characters searching for meaning in their lives. That said, its premise does a superb job drawing you in, and its well-crafted narrative effectively builds momentum.

Warm Water Under a Red Bridge is a film infused with magical realism and social commentary. Themes explored include alienation, male sexuality and the fear of impotency, and a celebration of female ecstasy. Despite its salacious premise, Warm Water Under a Red Bridge is actually a heartfelt exploration of the human condition. Although the moments where Saeko is climaxing are striking, ultimately it is the non-sexual moments between her character and Yosuke that drive the narrative.

All around, the cast are excellent in their roles; the secondary characters are mostly quirky characters who provide some humor. That said, it is the two leads, Kōji Yakusho (Cure) in the role of Yosuke Sasano and Misa Shimizu (the eel), who shine the brightest. Their performances are nuanced, and they have an incredible amount of on-screen chemistry.

The narrative moves at a deliberate pace that allows characters' stories to flesh out and key moments to resonate. The last 20 minutes offer up a superbly executed twist and a dramatic tonal shift; things become violent and darker. The film culminates in a cathartic finale where the two leads reveal truths from their pasts, thereby exposing old wounds. Not to be overlooked when discussing Warm Water Under a Red Bridge is its use of odd sounds, which enhances the mood in a way a more traditional score would not. Ultimately, Warm Water Under a Red Bridge is an exemplary blend of melodrama, fantasy, and humor that serves as a perfect coda for Shōhei Imamura, a filmmaker who constantly challenged boundaries.

Warm Water Under a Red Bridge gets a solid release from Radiance Films that comes with a strong audio/video presentation and a wealth of insightful extras. Highly recommended.

Written by Michael Den Boer

Vengeance Is Mine - The Criterion Collection (Blu-ray)

Theatrical Release Date: Japan, 1979
Director: Shōhei Imamura
Writers: Masaru Baba, Shunsaku Ikehata
Cast: Ken Ogata, Mayumi Ogawa, Rentarō Mikuni, Mitsuko Baisho

Release Date: August 26th, 2014|
Approximate Running Time: 140 Minutes 45 seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $39.95

"A thief, a murderer, and a charming lady-killer, Iwao Enokizu (Ken Ogata) is on the run from the police. Director Shohei Imamura turns this fact-based story—about the seventy-eight-day killing spree of a remorseless man from a devoutly Catholic family—into a cold, perverse, and at times diabolically funny examination of the primitive coexisting with the modern." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "This high-definition digital transfer was created on a Spirit 2K Datacine from a new 35mm low-contrast print made from the original camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter, and flicker were manually removed using MTI's DRS and Pixel Farm's PFClean."

Vengeance Is Mine comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.4 GB

Feature: 38.6 GB

For a release that is 12 years old, this transfer holds up really well. Flesh tones and colors look correct; contrast, black levels, and image clarity are solid, and there are no issues with compression or digital noise reduction.

Audio: 5/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The track sounds excellent, the dialogue is always clear, everything sounds balanced, and ambient sounds are well-represented.

Extras:

Extras for this release include a theatrical teaser (3 minutes 2 seconds, Dolby Digital mono Japanese with removable English subtitles), a theatrical trailer (3 minutes 1 second, Dolby Digital mono Japanese with removable English subtitles), excerpts from a 1999 interview with director Shohei Imamura, produced by the Directors Guild of Japan (10 minutes 17 seconds, Dolby Digital mono Japanese with removable English subtitles), an archival audio commentary with film critic Tony Rayns, and a 34-page booklet with cast & crew information, a writing by Shōhei Imamura titled On Vengeance Is Mine, an essay titled Civilization and Its Discontents written by Michael Atkinson, an archival interview with Shōhei Imamura titled To and From Fiction conducted by Toichi Nakata, a writing by Shōhei Imamura titled My Approach to Filmmaking, and information about the transfer.

Summary:

Shôhei Imamura directed Vengeance Is Mine. He’s known for Pigs and Battleships, The Insect Woman, Intentions of Murder, The Pornographers, The Ballad of Narayama, Zegen, Black Rain, The Eel, and Warm Water Under a Red Bridge.

A con man and murderer named Iwao Enokizu evades capture by outsmarting the police for 78 days.

By the mid-1960s Shôhei Imamura would form his own production company after working for Nikkatsu Corporation for a decade. While Shôhei Imamura made a trio of films in the later half of the 1960s, he would only make documentaries in the decade following Profound Desires of the Gods. This brings us to Vengeance Is Mine, a film that fuses Shôhei Imamura's earlier cinema with his documentaries.

Vengeance Is Mine is based on the actual events of the 78-day manhunt to catch Iwo Enixum. Shōhei Imamura for Vengeance Is Mine employs a documentary style that enhances the realism of the event being depicted. Throughout Vengeance Is Mine, there is text that appears onscreen laying out dates and information about the victims. While the narrative begins with the killer's capture, from there it shifts to a non-linear structure that mostly takes place in the past. That said, once the story settles in and all of the main characters have been introduced, the non-linear structure becomes a nonfactor since the story is so overpowering.

Ken Ogata (The Demon) gives the performance of his career as Iwao Enokizu. Throughout, Iwao Enokizu takes on various personalities, many fashioned from his victims, and Ken Ogata’s ability to shift between these personas is extraordinary. Another area where his performance excels is how he often restrains any emotion and comes off as a blank slate. Another performance of note is Mitsuko Baisho’s (Hitokiri) portrayal of Iwao Enokizu’s wife, who becomes entangled in an affair with Iwao’s father.

Vengeance Is Mine is much more than a story about a killer; it's a film that explores themes of nihilism, voyeurism, jealousy, and religion. Vengeance Is Mine, like all of the cinema of Shōhei Imamura, requires one to dig deeper and look beyond the surface. While there are many moments of violence that occur onscreen, the most jarring of these moments is a scene where the killer's wife and father boil a dog to death; fortunately, the dog is only heard and never seen. That said, there is a rawness to the killings that enhance their authenticity. Ultimately, Vengeance Is Mine is an exemplary crime drama where the darkest sides of the human condition are on full display.

Vengeance Is Mine gets an excellent release from The Criterion Collection that comes with a solid audio/video presentation and insightful extras. Highly recommended.

 

Written by Michael Den Boer

Warm Water Under a Red Bridge – Film Movement (Blu-ray)

Theatrical Release Date: Japan, 2001
Director: Shōhei Imamura
Writers: Shōhei Imamura, Daisuke Tengan, Motofumi Tomikawa
Cast: Kōji Yakusho, Misa Shimizu, Mitsuko Baisho, Mansaku Fuwa, Isao Natsuyagi, Yukiya Kitamura, Hijiri Kojima 

Release Date: August 26th, 2025
Approximate Running Time: 119 Minutes 33 Seconds
Aspect Ratio: 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: LPCM Stereo Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $41.98

"Yosuke Sasano, an unemployed salaryman who arrives in a remote fishing village following a rumor of hidden treasure. Instead, he meets Saeko Aizawa, a charming and unusual woman with a unique problem: a well of warm water inside her longing for release. Saeko faces both shame and adoration for her condition, which the local anglers believe feeds the river and its fish. Intrigued and enamored, Yosuke decides to take up a new life as a fisherman. - synopsis provided by the distributor

Video: 3.5/5

Warm Water Under a Red Bridge comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.1 GB

Feature: 33.5 GB

The source has been cleaned up; flesh tones look healthy, colors look correct, image clarity is strong, and there are no issues with compression. That said, there are instances of black crush, especially during black and white flashbacks.

Audio: 4.25/5

This release comes with one audio option, a LPCM stereo mix in Japanese with removable English subtitles. The audio sounds clear and balanced, and ambient sounds are well represented.

Extras:

Extras for this release include a trailer (1 minute 44 seconds, Dolby Digital stereo Japanese with non-removable English subtitles), a video essay by author and film curator Tom Vick titled Messy and Juicy (9 minutes 50 seconds, LPCM stereo English, no subtitles), a spot gloss and embossed slipcover (limited to 2,000 units), and a 20-page booklet with cast & crew information, an essay titled She Shall Redeem the Man written by Hwang Kyunmin, and an essay titled Warm Water Under a Red Bridge: A Surreal Comedy of Redemption and Love written by Jessica Yeung.

Summary:

Shôhei Imamura directed Warm Water Under a Red Bridge. He’s known for Pigs and Battleships, The Insect Woman, Intentions of Murder, The Pornographers, Vengeance Is Mine, The Ballad of Narayama, Zegen, and Black Rain.

A salaryman visiting a seaside town falls in love with a woman who has a most unusual way of climaxing during sex.

Although Warm Water Under a Red Bridge begins as a story about a man searching for an object hidden in a house by someone he knew, it evolves into a romantic comedy about characters searching for meaning in their lives. That said, its premise does a superb job drawing you in, and its well-crafted narrative effectively builds momentum.

Warm Water Under a Red Bridge is a film infused with magical realism and social commentary. Themes explored include alienation, male sexuality and the fear of impotency, and a celebration of female ecstasy. Despite its salacious premise, Warm Water Under a Red Bridge is actually a heartfelt exploration of the human condition. Although the moments where Saeko is climaxing are striking, ultimately it is the non-sexual moments between her character and Yosuke that drive the narrative.

All around, the cast are excellent in their roles; the secondary characters are mostly quirky characters who provide some humor. That said, it is the two leads, Kōji Yakusho (Cure) in the role of Yosuke Sasano and Misa Shimizu (the eel), who shine the brightest. Their performances are nuanced, and they have an incredible amount of on-screen chemistry.

The narrative moves at a deliberate pace that allows characters' stories to flesh out and key moments to resonate. The last 20 minutes offer up a superbly executed twist and a dramatic tonal shift; things become violent and darker. The film culminates in a cathartic finale where the two leads reveal truths from their pasts, thereby exposing old wounds. Not to be overlooked when discussing Warm Water Under a Red Bridge is its use of odd sounds, which enhances the mood in a way a more traditional score would not. Ultimately, Warm Water Under a Red Bridge is an exemplary blend of melodrama, fantasy, and humor that serves as a perfect coda for Shōhei Imamura, a filmmaker who constantly challenged boundaries.

Film Movement gives Warm Water Under a Red Bridge a serviceable audio/video presentation and a pair of insightful extras.

Written by Michael Den Boer

The Eel: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Japan, 1997
Director: Shôhei Imamura
Writers: Shôhei Imamura, Daisuke Tengan, Motofumi Tomikawa
Cast: Kôji Yakusho, Misa Shimizu, Mitsuko Baishô, Akira Emoto, Fujio Tokita, Shô Aikawa, Ken Kobayashi, Sabu Kawahara, Etsuko Ichihara, Tomorowô Taguchi, Chiho Terada

Release Date: April 14th, 2025 (UK), April 15th, 2025 (USA)
Approximate Running Times: 134 Minutes 25 Seconds (Director's Cut), 116 Minutes 38 Seconds (Theatrical Cut)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese (Both Versions)
Subtitles: English (Both Versions)
Region Coding: Region A,B
Retail Price: £14.99 (UK), $39.95 (USA)

"After serving time in prison for murdering his unfaithful wife, Yamashita (Koji Yakusho, Perfect Days, Cure) is released on parole, accompanied only by his pet eel. Hoping to stay out of trouble, he takes over a rural barber shop that quickly becomes a gathering point for the eccentric locals. However, the discovery of a woman’s failed suicide starts a chain reaction that brings back past demons - and not just his own." - synopsis provided by the distributor

Video: 4.25/5 (Director's Cut), 4/5 (Theatrical Cut)

Here’s the information provided about the transfer, "The Eel (Director's Cut) was transferred in High-Definition by Shochiku Co. Ltd. and supplied to Radiance Films as a High-Definition digital file.

The Eel (Theatrical Cut) as presented on this disc was assembled by Radiance Films using the high-definition master of the Director's Cut as supplied by Shochiku Co. Ltd. Where necessary and in order to present a complete and accurate version of the Theatrical Cut, this version briefly incorporates interstitial footage taken from a pre-existing standard definition version, which was the only available source from this version of the film. As a result, there are occasional moments where the resolution of the picture fluctuates."

The Eel comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.8 GB

Feature: 23 GB (Director's Cut), 18.5 GB (Theatrical Cut)

The source is in excellent shape; flesh tones and colors look correct, image clarity and compression are solid, and black levels are strong. That said, there do not appear to be any issues related to digital noise reduction.

Audio: 4.25/5

Each version comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. Both audio tracks are in great shape; dialog comes through clearly, everything sounds balanced, and range-wise ambient sounds are well-represented.

Extras:

Extras for this release include a theatrical trailer (1 minute 8 seconds, Dolby Digital mono Japanese with removable English subtitles), a video essay by Tom Mes on the year 1997 as a turning point in Japanese cinema (13 minutes 22 seconds, Dolby Digital stereo English with removable English subtitles for Japanese film clips), an interview with film critic Tony Rayns (27 minutes 31 seconds, Dolby Digital stereo English, no subtitles), an interview with screenwriter Daisuke Tengan, son of director Shôhei Imamura (18 minutes 52 seconds, Dolby Digital stereo Japanese with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet (limited to 3000 copies) cast & crew information, an archival interview with Shôhei Imamura conducted by Max Tessier, an archival essay titled The Long Way Back to Normality written by Andrea Grunert, and information about the transfer.

Summary:

Shôhei Imamura directed The Eel. He’s known for Pigs and Battleships, The Insect Woman, Intentions of Murder, The Pornographers, Vengeance Is Mine, The Ballad of Narayama, Zegen, and Black Rain.

The Eel is a character-driven melodrama that revolves around a mild-mannered salaryman named Takuro Yamashita whose life is shattered when he discovers his wife's infidelity. Consumed by rage, he grabs a knife, stabs her lover in the back, and then repeatedly stabs her to death. He’s sent to prison for eight years for killing his wife, and when he emerges, he’s clearly a different person. His main companion is an eel who he frequently talks to, and though he initially struggles to connect with others, over time he forms a close bond with a colorful group of characters.

Despite opening with a dramatic moment that hits you hard, most of the narrative is relatively calm moments where characters interact and enjoy spending time with each other. Though there are occasional moments where the serenity is disrupted, most of the narrative has a lighthearted tone. That said, the most surprising aspect of The Eel is how effectively it mixes humor and poignant moments.

An inner turmoil befalls Takuro, the protagonist, like so many of Shôhei Imamura's protagonists. He’s a man who speaks few words and locks his emotions inside where they fester. Though he remains guarded throughout, he does slightly open up with a woman named Keiko, who he saves from an attempted suicide. Keiko, like Takuro, has her own complicated past, which she tries to outrun. Other themes explored in The Eel include loneliness and Takuro’s lack of remorse, his refusal to visit his wife's grave and make amends.

The cast are excellent in their roles, especially Kôji Yakusho (Cure), who portrays Takuro, and Misa Shimizu (Shall We Dance?), who portrays Keiko. In a film that is overflowing with colorful characters, these two characters are the counterbalance, and they both deliver exemplary, pensive performances that perfectly capture their characters' state of mind.

The cast are excellent in their roles, especially Kôji Yakusho (Cure), who portrays Takuro, and Misa Shimizu (Shall We Dance?), who portrays Keiko. In a film that is overflowing with colorful characters, these two characters are the counterbalance, and they both deliver exemplary, pensive performances that perfectly capture their characters' state of mind. Another performance of note is Tomorowô Taguchi (Tetsuo: The Iron Man), who portrays the short-fused loan shark Eiji Dojima.

Though the visuals let the performances be the focal point, there are a few striking moments visually. The most notable of these is the scene where Takuro methodically bludgeons his wife to death, and then he calmly walks into the police station and turns himself in. Other visually striking moments include the scene where Takuro, who had been fishing, discovers Keiko’s comatose body; a scene where a man who's blackmailing Takuro tries to rape Keiko; and a scene where Takuro reaches his breaking point and lets out his rage.

Though this release offers two versions of the film, the clear winner is the director’s cut. That said, The Eel is a film where more is better; not only are things more fleshed out, but the narrative's rhythm is superior. Other strengths of the narrative are how it uses flashbacks to flesh out Keiko’s backstory and its cathartic finale in which Takuro is finally able to move on from his past. Shôhei Imamura was a filmmaker who made so many films that can be qualified as masterpieces, and yet even his films that fall just below this mark are extraordinary. Ultimately, though The Eel falls into the latter category, it is still an extraordinary film about the human condition.

The Eel gets an exceptional release from Radiance Films that comes with a strong audio/video presentation, two versions of the film, and insightful extras, highly recommended.

 

Written by Michael Den Boer