Sono otoko, kyobo ni tsuki/Violent Cop (1989), 3-4 x jugatsu/Boiling Point (1990), Ano natsu, ichiban shizukana umi/A Scene at the Sea (1991), Sonachine/Sonatine (1993), Minnâ-yatteruka/Getting Any? (1995), Kidzu ritan/Kids Return (1996), Hana-bi (Fireworks) (1997), Kikujiro no natsu/Kikujiro (1999), Brother (2000), Dooruzu/Dolls (2002), Zatôichi/Zatoichi (2003), Takeshis' (2005), Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence/To Each His Cinema (segment One Fine Day) (short, 2007), Kantoku - Banzai!/Glory to the Filmmaker! (2007), Akires to kame/Achilles and the Tortoise (2008), Autoreiji/Outrage (2010), Autoreiji: Biyondo/Beyond Outrage (2012), Ryûzô to 7 nin no kobun tachi/Ryuzo and the Seven Henchmen (2015), NEWS (2015, short), ASA (2015, short), Outrage Coda (2017)
More info: Wikipedia, Kitano Takeshi
Kitano Takeshi at IFFR
3-4 Jugatsu - Boiling point
The second hard action film by and with Takeshi, this time in a smaller role than in Violent Cop, but one which makes quite an impact. After this film Takeshi was to decide to disappear completely behind the camera.The film focuses on the service-station attendant Masaki, who plays in the baseball team The Eagles in his spare time. Masaki is by no means a great sportsman and his teammates make it clear that they would be better off without him. Back at his service station, he is forced by a gangster to wash his car. Masaki doesn't do so well enough for the gangster, who then proceeds to beat him up. He really is down on his luck.The snack-bar owner played by Takeshi is more or less the sponsor of the baseball team. He himself is a former gangster who decides to help the unfortunate Masaki. Suddenly the baseball players discover that their sponsor has disappeared and they go to see the gangsters with Masaki to find out what has happened. Two Eagles are almost beaten to death and Masaki only just manages to escape. He takes a tanker from the service station and drives it straight to the gangsters' hide-out.
Ano natsu, ichiban shizukana umi
Sono otoko kyobo ni tsuki - Violent cop
@ In his debut film as director, the actor Kitano Takeshi himself plays the leading role of a violent cop. Sono Otoko Kyobo Ni Tsuki (Violent Cop, also known as Warning, this Man is Wild) is a genre film, a police film, which can be compared with Clint Eastwood's Dirty Harry movies. This may not say very much, but Kitano Takeshi says even less. He is a charismatic actor who only carries the film with his glances and his walk.The film-maker plays detective Wagatsuma Ryosuke, who has an inimitable style of his own. When he sees a gang of young criminals beat up a tramp, he doesn't intervene, but follows the ringleader to his parents' home. Ryosuke forces his way in and beats the boy up in his own room. His superiors cannot approve of his methods and he receives one warning after another, which he accept in silence and apparent resignation. Wagatsuma would appear to be driven by a hatred of crime and is not concerned about his career. The motive for the hatred becomes clearer after his daughter is introduced into the story. She is mentally subnormal and a drug addict. She is the victim of unscrupulous dealers and the film leads almost systematically to the final showdown with the leader of the drugs gang.In Japan, Kitano Takeshi is best known as an actor, but he would appear to have a higher regard for directing: 'When I look through the viewfinder of the camera, I see what adifference it makes whether you are on or off the set. Of course the real work happens on the set.'
Ganster parody in which Beat Takeshi withdraws to an island. His gang gets bored. By the maker of VIOLENT COP and BOILING POINT.
Minna Yatteru ka
Dopey Asao only thinks of sex. A fast car will help him get women. First comedy by 'Beat' Takeshi.
Adolescents grow up in fits and jerks in fine boxing and Yakuza film.
Kitano stands out in his leading role as a police detective in an emotional, comic Golden-Lion-winning Japanese cop film.
Kitano as gangster in a music video made for his singing daughter.
Jam Session - Kikujiro no natsu koshiki kaizokuban
The formidable Kitano Takeshi in the 'making-of' of his last film Kikujiro. Plus an unforgettable encounter with the Taiwanese master Hou Hsiao-hsien.
Kikujiro no natsu
Masao (9) has the holiday of his life in a funny, occasionally absurd, but always warm comedy. With and by a Kitano who excels himself.
Takeshi Kitano, l'imprévisible
Kitano, Japan's greatest living film-maker, talking to Hasumi, the most respected film academic in Japan. The impudent film-maker is actually shy in the presence of the wise professor.
Violent, but also funny kamikaze parable about a Japanese Yakuza (Takeshi), who visits his brother in the USA and en passant tramples through the underworld of L.A.
The latest Kitano cuts back and forth between three romantic tragedies that are set in an only slightly stylised version of today's Japan, with plenty of attention for decorum and still drama.
Takeshi Kitano plays the famous Blind Swordsman and hits the entertainment high spot without losing any of his creative élan. Witty, with brilliantly choreographed fights and a finale that will have you dancing out of the cinema.
Kitano does what he likes. After the success of Zatoïchi, he presents a subversive exercise that holds the middle line - in as far as there is a middle line - between his own rain-of-bullets cinema à la Sonatine, sublime banalities à la Getting Any? and Fellini's Otto e mezzo. So it's a mocking, almost surrealist film about the star Kitano, his oeuvre and his failed alter ego.
Glory to the Filmmaker!
Kitano is here an unbridled satirist. He dares to ridicule the great film maker Kitano. Silent like a clown in a State Circus, Kitano opens all the registers. The ultimate fancy dress party. Kitano, the emperor with clothes.
Achilles and the Tortoise
Kitano is not afraid of anything. Not even of making a fool of himself. He's not only a famous comedian, a great maker of gangster films, but also a diligent painter. And now it's the turn of the painter to be in the spotlight of an absurd comedy. The comic is merciless.
Blood and Bones
In this epic fresco, Sai explores social history through one man, a Korean emigrant to 1920s Japan (played by Kitano Takeshi), who works his way up to head a small criminal empire. Sai’s brilliant recreation of a vanished community raises difficult questions about Korean-Japanese identity.
Korean director Sai plays the leader of a Japanese samurai militia in a film by Oshima Nagisa (whose assistant director Sai was on In the Realm of the Senses), with Kitano Takeshi as his second-in-command. Oshima explores the perils of desire, as a beautiful new recruit stirs up homosexual tensions.
Mosquito on the Tenth Floor
In Sai’s first film, ex-rocker Uchida Yuya plays an unstable and alcoholic Tokyo cop, despised by his ex-wife and daughter. As his life moves in circles, his inner rage builds up, occasionally exploding in violence against women and strangers.
It often happens with great masters. At the end of their career, their work gets increasingly scarce and minimal. So too in the case of Kitano. The maestro of the hard and absurd Yakuza film (Japanese Mafia film) has left out all the ornamentation. It is hard. It is inevitable. It is masterly.
Faux-sentimental short by ‘Beat’ Takeshi (aka Kitano Takeshi), made for his latest TV show. He plays a pensioner who takes a walk in the park.
Sardonic short by ‘Beat’ Takeshi (aka Kitano Takeshi), made for his latest TV show. Two cops in a car mull over some evidence.
Thirteen hours is quite something, and in this case certainly not only for the viewer. Filmmaker-poet-composer Khavn will accompany the film on the piano for its entire duration. A very special show that will easily make the Guinness Book of Records as the longest musical film accompaniment ever.
Stylish finale of the Outrage trilogy. A new battle breaks out between rivals in the Japanese organised crime world, where tradition makes way for cold opportunism. Kitano Takeshi is helmsman and protagonist, offering a supercool chess game of men in perfect suits, intercut with explosions of violence and pitch-black humour.