If you’re a fan of Japanese manga and anime, then you’re most likely familiar with the name Go Nagai. He’s credited for being a pioneer and innovator, having helped to create the super robot genre, the magical girl genre, and others. Titles like Cutie Honey, Mazinger Z, and Devilman helped to cement his influence the world over. Still active, he lent some new character designs and story ideas to filmmaker Kurando Mitsutake (Karate Kill), who turned them into the feature film Lion-Girl (2023), which is available now from Cleopatra Entertainment.
Shot during the pandemic on a shoestring budget, it pays homage to the Nagai and the various genres he popularized. The film is shot in English but very much maintains a Japanese sensibility and style. It may not be for everyone, but in my mind, it’s a success.
A meteor tsunami has destroyed the Earth as we know it, turning it into a water world. The only mass of land left is Neo-Nippon, a land mass formerly known as Tokyo. Much of the human race has been wiped out, while the ones who survived live in danger since the rays given off by the meteorites are deadly. Some of the humans who are exposed to the rays turn into Anarocs, mutants who survive by sucking the life force out of the living. Even rarer are the Man-Anarocs, someone who was exposed to the rays and has kept their humanity but gained all the powers, someone like Lion-Girl (Tori Griffith). Along with Ken (Damian Toofeek Raven), her uncle and sensei, they have vowed to help those in need.
When Mayumi (Shelby Lee Parks) and her father Herbert (Matt Standley) show up on their doorstep asking for help, they, along with gunslinger Marion (Joey Iwanaga) set out to escort them to their destination safe. It’s never as easy as it sounds, especially since the shogun Fujinaga (Tomoki Kimura) has marked Lion-Girl as a threat and has sent samurai Kaisei Kishi (Derek Mears) and his crew to intercept them. Kishi has his own motives and will stop at nothing to put an end to Lion-Girl.
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It’s easy to dismiss a film like this as shamelessly filled with gratuitous nudity and violence, but I’d like to argue that there’s far more going on than most will give it credit for. Kurando Mitsutake is a huge Go Nagai fan and has painstakingly crafted this film in a way to pay homage to and honor a childhood hero as much as it is his own creation, with his own ideas and beliefs. He takes jabs at serious issues like politics and the pandemic while never taking it too far to where it feels like it’s being crammed down our throats.
Lion-Girl has action and comedy and showcases some terrific practical effects work, including a brilliant exploding head gag. Everything in this film is done by design: the CGI, the unique camera angles, and the lighting. It’s just an over-the-top extravaganza that takes you into a wacky world where mutants can shoot fireballs from their breasts, and our heroine practices her kata while taking a shower.
There’s lots of exposition, laying out the rules of their universe, but it’s par for the course when creating such an expansive story. I’m fairly familiar with the worlds Go Nagai has created in his books and Lion-Girl very much fills that aesthetic. His work has been adapted before into live-action features like Devilman (2004) and Cutey Honey (also 2004, and I actually adore it), but this one most directly embodies what he strived for. Much of that success lies in the vision Mitsutake had as much as his adoration of Nagai.
The cast is as diverse as can be, and everyone believes in the project with a burning passion that’s evident in their portrayals. Tori Griffith boldly tackles the titular role with bravery and confidence. It’s a nuanced performance where her character is a total badass yet still dealing with past trauma, finding her place in a crumbled world, and rising to the expectations of those around her. She brings it all full circle with a satisfaction I wasn’t really expecting from a film like this. While having many significant roles over the years, I think this could truly be her breakout role.
Most of us know Derek Mears as Jason Voorhees or Swamp Thing, but seeing him work without being covered in makeup (at least for the majority of the film) is a real treat. He chews up and spits out each scene he appears in, showing off his versatility as an actor without having to deal with his face being completely covered by a mask. The rest of the cast is just as deserving of the accolades, like Damian Toofeek Raven, David Sakurai, Shelby Lee Parks, Matt Standley, and everyone else involved.
With how I’ve described it thus far, one wouldn’t think I was talking about a film that’s also completely bat-s**t crazy, which I absolutely love. The campiness is embraced by cast and crew, it never feels compromised or diluted. Even with all the nudity, it just feels like part of the universe they’ve created, and it belongs. There are no sex scenes, and the nudity isn’t sexualized; it’s just kind of there. If the human body (both men and women) offends you, this isn’t for you. If spraying blood, severed limbs, and exploding heads nauseate you, head over to Disney because these superheroes take no prisoners. If you’re like me, suffering from superhero fatigue, Lion-Girl should be on your list.
The Blu-ray release from Cleopatra Entertainment looks and sounds fantastic. It’s a very vibrant film, filled with a rich color palette that’s visually pleasing. It’s crisp and exciting, a perfect presentation for a film that succeeds in emulating how the manga style should look when brought to life.
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The special features a really deep dive into the making of Lion-Girl, including a sixty-minute behind-the-scenes look at its creation that’s very informative and offers up some great footage of the cast and crew hard at work. It has an introduction by the legend himself, Go Nagai, an insightful commentary from Mitsutake, an interview with Nagai conducted by Mitsutake, an introduction, and Q&A from the premiere, a still gallery, and trailers.
Lion-Girl really captivated me, and I am excited to have this in my collection for repeat viewing. All the stars aligned on this one, right down to the infectious synth-pop end credits song, “Pale Blue” by Aeon Rings. I’m a fan of Mitsutake’s previous films, and you can see and feel his passion for each project while he grows and matures as a filmmaker. With that maturity, he hasn’t lost the child inside, and that’s the key to why a campy little fantasy film is going to capture so many.
Without question, Lion-Girl is bound for cult status, and hopefully, it’s successful enough to warrant a second outing because there are more adventures out there for her, and I’m ready for another.
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