The celluloid arclight turns on critically acclaimed Japanese auteur Takeshi Kaitano, also popular actor, comedian, presenter, author, poet, painter, all rolled into one . Kitano, renowned for his films revolving around Yakuza gangsters or the police, and referred to by critics as being highly deadpan to the point of near-stasis, received immense acclaim, both in his native Japan and abroad, for his highly idiosyncratic cinematic style.

Several of works expound a bleak or nihilistic philosophy, while, however, filled with bouts of humor and striking, singular affection for principal players. Hana-bi, the film in focus, sealed his status on global movie marquee as one of Japan’s foremost of modern movie-makers. In Hana-bi, Takeshi Kitano seamlessly stitches together an elegiac mood-piece that brims with aesthetic brilliance full of his trademark style, resulting in a beautiful and moving film.

Golden Lion Award winner at Venice Film Festival, Hana-bi (Fireworks) showcases Kitano’s brand of existential crime thrillers. It concerns a recently retired police officer of questionable ethical values and of violent and unpredictable disposition.

A quiet cop, with terminally ill wife, he quits the force when one of his partners is paralysed and other killed during a shockingly bloody shootout.

Driven over the edge after the terrible incident, he spends much time looking after his wheelchair-bound wife, borrowing money from cruel Yakuza gangsters for her treatment. Unable to pay them back he executes a deftly planned bank heist. 

Slow to the point of agonisingly static, however, enchantingly poetic brimming with superlative visuals, bloody with gut wrenching violence, Hana-bi, is a film whose deliberate and intended slow pace is devoted to exploring various human relationships.

 It’s a must-see movie for aficionados as also aspiring auteurs and cinematographers. Screening Saturday (Oct 27), 6.45 pm, Suchitra Film Society, 36, IX Main, B V Karanth Road, Banashankari II Stage. Call: 26711785.