Takeshi Fukiya

Takeshi Fukiya, not exactly a household name—unless you’re living in a super-niche Tokyo film club—is one of those directors who just refuses to stick to one predictable lane. You watch Hard Days (2023) and, man, it’s like getting punched in the gut by a story that refuses to slow down. The whole thing’s got that sweaty, white-knuckle cop-on-the-edge vibe, but Fukiya throws in these weirdly raw human moments, almost like he’s daring you to care about his characters even while the plot’s going off the rails. Then you jump to Sairento Tôkyô (2020), and, whoa, total tonal shift. It’s a thriller with this eerie, almost suffocating atmosphere—Tokyo under threat, ticking clocks, and this undercurrent of panic that creeps under your skin. Fukiya knows how to crank up the tension without resorting to cheap gimmicks. The city becomes a character, honestly, and you start to notice details in the background most directors wouldn’t even bother with. And just when you think you’ve got him figured out, he drops 11 Rebels (2024). This one’s like a punchy, chaotic ensemble piece, a bunch of misfits colliding—sometimes literally—chasing freedom or redemption or maybe just a paycheck. It’s messy, it’s loud, it’s got heart, and Fukiya’s fingerprints are all over it. The guy’s style? Call it unpredictable, maybe a bit wild, but never boring. Every film feels like he’s swinging for the fences, and somehow he keeps pulling it off.