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Gokudô kyôfu dai-gekijô: Gozu
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Gozu (2003) More at IMDbPro »Gokudô kyôfu dai-gekijô: Gozu (original title)

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Sakichi Satô (screenplay)
View company contact information for Gozu on IMDbPro.
Release Date:
14 July 2004 (France) See more »
A yakuza enforcer is ordered to secretly drive his beloved colleague to be assassinated. But when the colleague unceremoniously disappears en route, the trip that follows is a twisted, surreal and horrifying experience. Full summary » | Add synopsis »
Plot Keywords:
5 wins & 2 nominations See more »
User Reviews:
THE wild goose chase of Takashi Miike's career; enough to give Freud a hemorrhage See more (83 total) »


  (in credits order)
Yûta Sone ... Minami (as Hideki Sone)
Shô Aikawa ... Ozaki
Kimika Yoshino ... Female Ozaki
Shôhei Hino ... Nose
Keiko Tomita ... Innkeeper
Harumi Sone ... Innkeeper's Brother
Renji Ishibashi ... Boss
rest of cast listed alphabetically:
Ken'ichi Endô ... Endo
Kanpei Hazama
Masaya Katô
Tamio Kawaji (as Tamio Kawachi)
Susumu Kimura
Hiroyuki Nagato
Hitoshi Ozawa
Kazuyoshi Ozawa
Sakichi Satô ... Coffee Shop Manager
Tokitoshi Shiota ... Gozu

Tetsurô Tanba
Yoshiyuki Yamaguchi

Directed by
Takashi Miike 
Writing credits
(in alphabetical order)
Sakichi Satô  screenplay

Produced by
Kanako Koido .... producer
Harumi Sone .... producer
Original Music by
Kôji Endô 
Cinematography by
Kazunari Tanaka 
Film Editing by
Yasushi Shimamura 
Production Design by
Akira Ishige 
Set Decoration by
Akira Sakamoto 
Makeup Department
Yûichi Matsui .... special makeup effects artist
Second Unit Director or Assistant Director
Masato Tanno .... first assistant director
Sound Department
Akira Nakano .... sound recordist
Hitoshi Tsurumaki .... sound designer
Other crew
Winston Emano .... publicist
Gregory Hatanaka .... distribution consultant
David Magdael .... publicist
Christian Storms .... subtitler: English

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Gokudô kyôfu dai-gekijô: Gozu" - Japan (original title)
"Yakuza Horror Theater: Gozu" - USA
See more »
Rated R for aberrant sexual and violent content, and for language
France:130 min (Cannes Film Festival) | USA:129 min
Sound Mix:
Filming Locations:

Did You Know?

Shot on a low budget, Gozu was originally planned for release on DVD but its positive reception at the Cannes Film Festival in May 2003 secured a theatrical release overseas.See more »
Female Ozaki:Wanna have sex?See more »
Movie Connections:
References "The Kingdom" (1994)See more »


What are the differences between the R-Rated version and the Unrated Version?
See more »
9 out of 12 people found the following review useful.
THE wild goose chase of Takashi Miike's career; enough to give Freud a hemorrhage, 2 April 2007
Author: MisterWhiplash from United States

Let it be known that Gozu won't be for everyone. This recommendation is not for a mass audience in the slightest. This is not Takashi Miike, filmmaker behind the modern cult hits Ichi the Killer and Audition, as you'd might expect. And yet, if you've seen these films, to an ironic extent, you should know what to expect. Gozu is a fabulous act of surrealistic tastelessness, a peering into filmmaker and screenwriter into what can f*** around enough in their psyches to have it blasted back into these characters here. So much can be read into everything that goes on, though I wondered at first if the bulk of film could do better than the first twenty minutes, where a psychotic yakuza- who sees little dogs and cars as specifically "Yakuza killing"- is being taken to be offed by his 'brother'. Whether it's really his brother or not AT FIRST doesn't seem important, until he loses him while stopping at a restaurant. From there on in, we're given a near shaggy-dog story, as if done in the ideals of reaching Lynchian proportions even still with a unique attitude and sense of humor.

If I tried to say too much of what goes on in Gozu one might just stop reading altogether - or be anticipating it, depending on the fan. Miike's style here is stripped down to essentials this time, which is very fitting for the story and characters he's relaying. Not that he's one to skimp on atmosphere, far from it, and if there's one thing he succeeds at in homaging/parodying Lynch it's in the use of sound, and how much varied colors in the lighting can make a difference for the psychological effect. Then again, one would need such a heightened sense of reality, or rather in Gozu as it's sort of not rushed, taking its time with its backwoods gang: the guy with the half-white face dazed out of his gourde; the lactating woman who, forgive me for actually writing this, isn't quite as effective as the lactating woman in Visitor Q; the various owners and hanger-ons at the places Minami, our protagonist, goes around to find his brother. It finally leads him to a woman, who says to him something unbelievable that, somehow, he buys without a second thought (at this point, as Jodorowsky used to say on his film sets I'd wager, 'why not'?) By now someone watching this will have said more than once "alright, this is starting to get weird", but there's more in store on the side of the personal side, and something that happens that, as Miike can only do, actually softens the much more disturbing implications of the shock before the BIGGER shocker.

Gozu is somehow, through all of its deliberate sideshow irregulars, ominous signs and the little knife-stabs of circumstance encountered by the wandering yakuza, very funny throughout because of something elemental Miike knows about this: it's the only way it could work, if it does at all. Other reviewers have and will continue to argue the pointlessness, the meandering, and how it goes too far over the line of decency in films. The first two can be arguable, but the last part is what Miike works best at here: take the audience over the line, and still say "it's only a joke." I'd have to imagine that, if only out of the little behavioral bits in Gozu, that Miike was behind the camera laughing silly. He means for it to be a serious presentation, to be sure, but what are we to make of a brother and sister who can conjure up dead spirits by one constantly thwacking the other with a fly swatter and chanting incantations? Or a classic dream involving a cow head and some sexual jealousy? The opening to the movie, in a sense, sets up the first litmus test, as some might want to turn it off right away. Yet its the nature of a surrealist, as Miike goes for here, to get away with vicious, wicked pranks that get the audience in an uproar, and since its never done too draggingly, and the thinking gets richer in the nature of the characters as it goes along, it's a successful work.

It's maddening and about societal madness, with enough U-turns and carefully composed visuals for two Miike movies, and it's one of the true like it or don't films of the past several years. For me, Miike and his writer Saito have not-so-subtly hit it out of the park.

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