Tetsuo: The Iron Man is a 1989 Japanese cyberpunk film by cult-film director Shinya Tsukamoto produced by Japan Home Video. This, his third film, is an extremely graphic but also strikingly-filmed fantasy shot in the same low-budget, underground-production style as his first two films. Revolving around the transformation of people into grotesque hybrids of flesh and metal, Tetsuo is above all an overwhelming audiovisual experience, set to a brain-pounding score by Chu Ishikawa and complemented by suitably exaggerated sound effects.
Set in a future-world vision of Tokyo where the police have been privatized and bitter self-mutilation is so casual that advertising is often specially geared to the “cutter” demographic, this is the story of samurai-sword-wielding Ruka and her mission to avenge her father’s assassination. Ruka is a cop from a squad whose mission is to destroy homicidal mutants known as “engineers” possessing the ability to transform any injury into a weapon.
A traumatized young man abducts Korean leaders, believing they're toxic reptilian aliens - a fifth column launching a takeover of beloved Earth. Stumped law enforcement geniuses half-seriously hire a disgraced, disheveled private detective with a long-ago history of super-crime solving. The alienated South Korean youngster Lee Byeong-gu builds an isolated basement command post/torture chamber/film studio to force the awful truth out of the slimy, uncooperative politicians and businesspeople, then alert the public. Byeong-gu is helped by his devoted girlfriend, who buys his theories, but wonders if his horrible childhood has colored his thinking.
Mr. Takazawa, an elderly invalid who is cared for at his home by Haruko, a young nursing student, is chosen by the Japanese Ministry of Public Welfare to test the Z-001, a computerized hospital bed with robotic features that allegedly displays more efficiency and skills than any human nurse, but Haruko mistrusts a machine unable to consider human feelings.
Tetsuo II: Body Hammer is a 1992 Japanese science fiction/horror film directed by Shinya Tsukamoto. It is a bigger-budget reworking of the same director's 1989 movie Tetsuo: The Iron Man, utilizing similar themes and ideas to the earlier film (a Japanese salaryman, played by cult actor Tomorowo Taguchi, finds his body transforming into a weapon through sheer rage after his son is kidnapped by a gang of violent thugs.) It was not as well received as its predecessor but it did win the Critic's Award at the 3rd Yubari International Fantastic Film Festival in February 1992.
Pinocchio 964 is a memory-wiped sex slave who is thrown out by his owners for failure to maintain an erection. It is unclear in what ways he has been modified beyond having no memory and being unable to communicate. He is discovered by Himiko while wandering aimlessly through the city. Himiko has also been memory-wiped, possibly by the same company that produced Pinocchio, but she is fully functional. Himiko spends her days drawing maps of the city, to aid other memory-wiped people. Himiko takes Pinocchio home and tries to teach him to speak. After much effort he has a breakthrough and finally becomes aware of his situation. At this point his body erupts in an inexplicable metamorphosis and it becomes clear that his modifications were much more involved and esoteric than simple memory loss. Himiko also begins to transform, though in a much more subtle manner.
Capable of making bio-mechanical weapons out of human flesh, alien parasites grotesquely invade the Earth, turning their hosts into maniacal killers who seek and destroy each other to the bloody death! And yes, it s also a human love story, even though the budding romantics are infested with slimy, tumor-like globules.
A dwarf scientist has his dreams frustrated when his sister becomes seriously ill. Determined to find a way to preserve the essence of his sister after the death, the scientist begins to use humans as guinea pigs in a bizarre experiment.