Trigger Warning: Agitator contains sequences of graphic violence and sexual assault that may be difficult for sensitive viewers.
It’s a rather tall order to not expect a yakuza film with title Agitator to not … well, agitate you. But such is the case for this 2001 violent gangland drama directed by the master of transgression himself, Audition director Takashi Miike. Being made in the same notable year as other well-known Miike films, including Ichi the Killer and Visitor Q, Agitator is an unforgettable, mean-spirited, violent film about murder, power, and soulless vengeance. When a yakuza member (played by Miike himself) is killed after sexually assaulting a hostess on rival turf, a vicious violent war ensues that pits gang against gang and leader against leader. Amongst the chaos are three key figures: Mr. Kaito (Hiroki Matsukata), the leader of the Kaito group who aims to become the leader of the Tenseikai Syndicate by absorbing all soldiers of the Shirane Group and the Yokomizo family; Yoichi Higuchi (Naoto Takenaka), a gang leader who knows there is treachery afoot within the politics of the yakuza but tries his best to keep a calculated head above water; and Kunihiko Kenzaki (Masaya Kato), arguably the main character of this story, a hot-headed street-level solider whose unwavering (and somewhat endearing) loyalty to Higuchi propels the extreme violence that follows in the film’s second half.
Throughout its runtime, there is an intentional juxtaposition of violence and dialogue present within Agitator that is not only jarring but disturbing in its manifestation. A tender moment in which a yakuza boss makes his entourage sing “Happy Birthday” to his caught-off-guard, grumpy second-in-command … is soon followed by a visceral sexual assault scene within a karaoke bar. A passionate, ravenous love scene is soon followed by an unflinching scene in which a yakuza gangster stabs a boss in the stomach while he rests in a barber chair … and slowly cuts across his midsection (a scene in which the “guts” are partially blurred out — it’s unclear if this is due to Japanese censorship or not). Miike’s juxtaposition of tenderness mixed with extreme depravity is part of the endurance test he unapologetically administers to his audience. At the heart of this somewhat-convoluted story of double-crosses, setups, and bloody revenge is the relationship between Yoichi and Kunihiko. While Yoichi can have a violent mean streak, he is much more controlled and calculated than his second-in-command Kunihiko. Kunihiko is the type to shoot first and ask questions later (if he even feels like asking questions), he reacts straight with violence rather than taking a moment to think like his leader. While there can be quite a few moments of melodramatic acting (especially in the yakuza meeting scenes with Mr. Kaito), Takenaka (The Happiness of the Katakuris) and Kato (Drive) carry their key roles with apt power. Takenaka carries a cool yet internally seething presence while Kato has an angry intensity that is felt in every scene he enacts bloody vengeance on a foe. Another surprising moment in this film is when Miike stops the film cold to showcase a strange, quiet scene between these characters. The two men gather at a bathhouse of sorts and routinely wash each other. The two then sit in the tub and wax poetic about how they met and how their mentor-protégé relationship has endured it all. While part of this scene may carry homosexual undertones for some viewers (they’re not necessarily wrong), there’s an unexpected tenderness in how Miike makes clear that these two gangsters — capable of monstrous acts — have sincere love for one another. It’s just one frustrating layer among many others he exhibits in this film.
Takashi Miike pulls no punches in his unflinching portrayal of fake brotherhood, cold dishes of revenge, and even colder dishes of death. Even some of the film’s most violent scenes are accompanied with a whimsical score, courtesy of Kōji Endō (Audition; 13 Assassins; The Happiness of the Katakuris). A gang of yakuza hoods blowing away another rival gang could easily be mistaken for Mr. Bean catching himself in one of his many unfortunate predicaments. The film simply does not let up in its mission of an unpredictable, visceral cinematic experience. Miike’s shaky handheld work during car chase scenes coupled with his tight framing of tense yakuza dealings and his dark, grimy aesthetic are part of the reason as to why this film, while it may not be totally revered (or enjoyed, rather), is unforgettable. This high-definition Radiance release comes equipped with both the theatrical version and a standard definition transfer of the 200-minute extended version (presented in two-part form). There’s also a newly filmed 2025 interview with Takashi Miike, an improved subtitle translation of the film, and an audio commentary by writer Tom Mes. Agitator is definitely not for everyone, but for fans of extreme cinema or Takashi Miike’s transgressive work, it’s a nice collector’s item.
Agitator Special Features:
- High-definition digital transfer of theatrical version of Agitator
- Standard definition transfer of 200 minute extended version of Agitator, presented in its original two-part form
- Original uncompressed mono audio
- *NEW* filmed interview with Takashi Miike (2025)
- Audio commentary by Tom Mes
- *NEW* improved subtitle translation
- Trailer
- Reversible sleeve featuring original and newly commissioned artwork by Time Tomorrow
- Limited edition booklet featuring new writing by Tom Mes
Available on Blu-Ray March 24th, 2026.
For more information, head to the official Radiance Films Underworld Chronicles: Three Yakuza Fables by Takashi Miike (Region B) webpage.
To purchase, head to the official MVD Entertainment Group Agitator webpage.
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Categories: Films To Watch, Home Release, Home Video, Recommendation, Reviews
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