It’s a privilege to be sitting down today to write about Blood of Revenge, Radiance Films sixth release from overlooked genre master Tai Kato. 2025 was a year of disruption for me, a seemingly never-ending time of upheaval that left no energy to write about films. Luckily for me, as things settle down and I emerge from the fog, I find Radiance Films are still a much needed constant. Sturdy as ever, thriving in their desire to help audiences discover their new favourite obsession. They were the ones who curated my affinity for Kato’s work and it was a joy to get lost in Blood Revenge, his masterfully crafted chivalrous yakuza movie.
After the attempted assassination of the boss of the Kiyatatsu syndicate, his hot-headed son Harou (Masahiko Tsugawa) wants to seek revenge. Senior lieutenant Kikuchi (Koji Tsuruta, Big Time Gambling Boss) advocates for a pacifist response, in keeping with the boss’ distaste for violence and respecting his wishes for the yakuza outfit to become a legitimate construction business. Our honourable hero Kikuchi is in love with sex-worker Hatsue (Sumiko Fuji, Big Time Gambling Boss), whose contract is to be purchased by Tatsuzo Kurasawa (Tōru Abe), a member of the The Hoshino gang, who orchestrated the assassination.
Kikuchi and Hatsue conspire to escape together, but after the boss succumbs to his injuries, Kikuchi is named the successor to the Kiyatatsu empire. Crestfallen by the death of his boss, and ridden with guilt for missing his last breath because he was with Hatsue, Kikuchi dedicates himself to fulfilling his former boss’ dream. He names Harou as the leader of operations, reluctantly leaving Hatsue in the hands of Kurasawa in order to keep peace, and moves away to oversee important business. While absent, The Hoshino Gang sabotage Harou’s legitimate work and make an open attempt on his life. This shocking development brings Kikuchi back to Osaka, abandoning his ideals to stage a violent one-man stand.
Kato’s economic shooting style, where he often plays out scenes in one take from a static camera, breathes life into his films because he so perfectly understands the art of blocking.
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The opening of Blood of Revenge is dazzling. A moving camera in the sky draws back to reveal a musical performance at a festival. We twist and turn with the movement of bodies, taking in the grandeur of the event, before being thrown into the thick of the crowd where the assassination takes place. To watch a Tai Kato film is to bask in his craft. Blood of Revenge is characterised by beautiful compositions and an eye-grabbing colour palette. Kato’s economic shooting style, where he often plays out scenes in one take from a static camera, breathes life into his films because he so perfectly understands the art of blocking. There’s a dialogue scene, shot from a low angle, is inspired in the way it expertly frames four characters within one frame. I don’t often lead with aesthetics, but the power of this stunning restoration is that it shows off Kato’s craft in all its glory, allowing you to give yourself over fully.
The story plays with familiar themes — man’s relationship with honour, violence and greed. How can a man be honourable in a society that is corrupt? When Kikuchi advocates for pacifism, his opposition responds with more violence. Kato has always been keen to point out the collateral damage in situations like these throughout his filmography, and the film finds its heart in the tragic relationship between Kikuchi and Hatsue. The scenes between these two are some of Kato’s finest melodramatic work. Fuji’s emotionally-charged performance, vulnerable and bubbling with repression and fear, is strikingly effective. They both find reprieve from their hardships while together, but circumstance forces them to be apart. Kato’s framing of the forbidden lovers, combined with swelling music and their clear chemistry, gives Blood of Revenge the dramatic weight it needs to make the finale so effective.
In Kato’s film the violence feels earned, its sparseness makes it punctuate. We spend so long avoiding physical conflict, with tensions bubbling underneath the surface, that when things explode it feels shocking and thrilling. Koji Tsuruta is magnificent throughout this film. He manages the difficult balance of being grounded, brave, tortured and then possessed. Kato collaborates perfectly with his leading man to continue to subvert expectations. Despite its brilliant staging, the finale isn’t a triumphant moment of catharsis, it’s a desperately sad sequence of inevitability. Having spent the whole film calling for peace, seeing Kikuchi overcome with burning desire for revenge is heart-breaking.
Whether you’re new to the work of Tai Kato, or an avid returning customer like myself, Blood of Revenge is a film you want on your shelf. I continue to have great admiration for the work Radiance do, with a particular love for these deep dives on specific filmmakers. Kato is a masterful filmmaker who deserves his work to be seen by larger audiences. I honestly finish each release hoping we get more. The special features include Lice Are Scary, an informational short film by Tai Kato, and Junko Fuji: Flower and Storm – a visual essay by Mark Schilling on Sumiko Fuji.
Blood of Revenge is out now on Radiance Films Blu-Ray
