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Consequently, Shindo was forced to introduce his own production company in order to shoot and screen it. Initially, British authorities refused to screen it in the UK; however, an expurgated edition was eventually released.

Ichi the Killer Takashi Miike, , Japan. It would not be a complete list without titles from one of the masters of the extreme.

Miike presents a movie where good, as a concept, is absent and every character seems to be paranoid. His aim is evident from the beginning of the movie; violence is not simply a factor, it is the sole and ultimate goal.

Additionally, a plethora of scenes that other filmmakers would not even dream of depicting are present here, including mutilations, raping women to death, even murdered children.

Miike accomplished these to create a true ode to violence. A number of censorship committees either heavily expurgated the movie or banned it completely, namely Norway, which forbids showing, distributing and even owning it.

Shuji Terayama, who was also a stage writer and a poet, is considered the leading representative of avant-garde in Japan.

Being evidently low budget, the movie is shot in black and white and entails an abstract narrative, thus making it tough to watch, especially in its unedited form that lasts 75 minutes.

However, underneath its extreme depictions and surrealism, Terayama hides a satire regarding politics and sex and the results of their interaction.

Caterpillar Koji Wakamatasu, , Japan. Another filmmaker that could not be absent from this list is Koji Wakamatsu, one of the earliest apostles of the extreme in Japan.

The particular film is one of his last works since he died in However, his distinct morbidity did not seem to have abandoned him even in his final years.

The story is loosely based on a novel written by Edokawa Rampo, initially published in , whose reprint was permanently forbidden in At the end of , before the end of the Japan-China war, First Lieutenant Kyuzo Kurokawa returns home from the front in an awful condition.

Both his legs and hands are mutilated, he has lost his hearing, and he has severe burns on the right side of his head. His relatives are shocked by his condition; nevertheless, they attempt, hypocritically, to persuade his wife, Shigeko that it is an honor taking care of such an eminent man.

On the other hand, she manages to overcome her own shock quite rapidly. The title literally refers to his condition, since he does not have hands or legs, thus resembling a caterpillar.

His biggest achievement here lies in the fact that he manages to retain the balance between the drama, the political comment and the satire, throughout a plethora of grotesque scenes.

Shinobu Terajima is sublime as Shigeko, presenting virtually every aspect of human behavior with utmost realism.

Breathless Ik Joon Yang, , S. Sang Hoon is a low-level gangster, working for a loan shark who happens to be his sole friend.

His job chiefly incorporates searching for individuals who owe money and subsequently, violently forcing them to pay. Usually, a young man from the syndicate accompanies him, seemingly to train in the field but actually for Sang Hoon to treat as a punching bag, constantly cursing and hitting him.

His cruel father, who regularly rampaged on his family, eventually killed his wife in an incident that landed him in prison and Sang Hoon in the hospital.

When he is released, he returns to his home with Sang Hoon, who, not being able to forget, wreaks his fury upon him, beating him every time he gets drunk.

The only people Sang Hoon seems to tend to are his sister, his nephew and subsequently a schoolgirl, with the two of them striking a peculiar friendship.

Ik Joon Yang directed, wrote the script, and played Sang Hoon, in a movie that is mostly autobiographical. His primary purpose is to delve into the concept of domestic violence, and he accomplishes that by depicting it without constraints regarding the abuse it incorporates, both physically and verbally.

The outcome is grotesque as much as it is realistic. His message is clear: the cycle of domestic violence is almost impossible to end.

Imprint Takashi Miike, , Japan. However, given the artistic freedom they allowed him, the result was literally a given.

In 19th century Japan, an American journalist searches for his lost love, a woman he abandoned despite his promises.

His investigation leads him to a secluded island, where a prostitute informs him that his loved one is deceased. Subsequently, she begins describing the life of the girl, a dramatic story of torture and hidden secrets.

Miike presents a grotesque edition of Japanese folklore and a love story that transforms into something irrational and evil.

Nevertheless, beyond the violence lies a technically accomplished film, whose visuals excel chiefly due to the phantasmagoric costumes and the cinematography that create a genuinely horrific atmosphere.

Grotesque Koji Shiraishi, , Japan. A paranoid sadistic doctor drugs and kidnaps a couple during their first date. His sole and obvious purpose here is to depict violence through torture as graphically as possible, thus creating a movie extremely onerous to watch, even by hardcore fans of the splatter genre.

Evidently, he succeeded. Shiraishi responded that he was delighted, since his purpose was to upset the so-called moralists.

Izo Takashi Miike, , Japan.

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