Tetsuo: The Iron Man is a 1989 Japanese Cyberpunk film by cult-film director Shinya Tsukamoto. 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. Tetsuo established Tsukamoto internationally and created his worldwide cult following. It was followed by Tetsuo II: Body Hammer and Tetsuo III: The Bullet Man.It follows the tale of a man who, after hitting a metal fetishist with his car, attempts to hide the mess by dumping the body into a ravine. To his dismay, he finds that the dead man is getting his revenge - by forcing the driver to transform into a walking heap of scrap metal.Not to be confused withthatTetsuo or thatIronMan.
All Just a Dream: The main character has a dream that his girlfriend turns into a machine-woman with a metallic penis that seems to be made from a vaccum cleaner. She then proceeds to rape him with it... and yes it is every bit as disturbing as it sounds.
Arm Cannon: The second and third movies show that murderous intent seems to manifest this (among other things) if the hate behind it is strong enough. In reality, people who are capable of this were actually part of an experiment to create humans who could become living weapons.
Black and Grey Morality: The Salaryman and his girlfriend do not seem to act like good people, considering that their reaction to hitting a wounded man with their car is to dump the corpse (or not) in a ravine and have sex over where they dumped him, most likely with the body facing them, considering the angle we see it from. So that means that the Metal Fetishist should be better, right? Well...
Body Horror: We have several shots of metal protruding through the protagonist's flesh, gradually mutating him into a man made of metal over the course of the film.
Dull Surprise: Eric Bossick and Stephen Sazzarin in The Bullet Man. Both rarely show any sort of emotion throughout the movie.
Extra Ore Dinary: The Fetishist seems to have power over metal, not just an ability to produce it from his own body. The Salaryman seems to discover this power too, and even briefly turn the tables on the Fetishist (it's hard to say for sure).
How about turning the whole world into metal? You and me. And we can rust the whole world and scatter it into the dust of the universe. Our love can put an end to this fucking world! LET'S GO!!!
I don't want money. Destruction is all I need.
No, I'm not going to end it with a cheap shot like this. What I want, Anthony, is for you to show the stupid people of this world what life is really like. Brains and blood splattering. That's reality. Come on, destroy all of our lazy peaceful dreams. Awaken to your destiny!
Our Zombies Are Different: His dead girlfriend is briefly brought back due to the antagonist's manipulation. Then he teleports out of her somehow.
The woman who chases the protagonist on the subway seemed like one as well. In fact, since the antagonist dies, comes back, and infects the protagonist, one could almost see this as some crazy zombie flick.
Primal Fear: The final battle of Bullet Man takes place in a crevice barely wide enough to turn around in, not to mention the other instances of claustrophobia in it.
Remake: Of Tsukamoto's first film, The Phantom of Regular Size.
Thematic Series: The movies all tell their own stories, but share several elements, including a saleryman turning into metal after encountering Yatsu, the metal fetishist; people turning into weapons and all end with the saleryman fusing with Yatsu, for better or for worse.
Transhuman: Arguably, the protagonists. Sure, they become grotesque walking lumps of scrap metal, but as the films go on, they can sprout guns from their bodies, become giant tank things and crawl on walls.
Two-Faced: Temporarily, one side of Anthony's face is completely transformed and inhuman in The Bullet Man.