"Gonin", or "The Five" (1995) feels like a lost 90s cult classic. It's difficult to find online, but if you're looking for a film that feels both familiar and new at the same time, I recommend this one. The film tells the story of a disco owner, Mikihiko Bandai, who plots to steal a large amount of money from the local yakuza. To do so, he decides to recruit Junichi Mitsuya, a con-man who specialises in blackmailing affluent queer men, and Kaname Hizu, a former detective. Along the way, he also recruits Jimmy, a pimp with ins to the yakuza, and Shohei Ogiwara, an down-on-his-luck salary man.

The thing about the plot to steal from the yakuza, however, is that it all goes terribly wrong. TERRIBLY.

They group is identified immediately and the yakuza send out two hitmen to take them all out and recover the stolen cash. It's a straight forward enough plot, and one that even feels vaguely familiar if you've seen any sort of heist-goes-wrong movie. What keeps "Gonin" interesting is not just the overarching mood of mystery and anticipation, but also the extra details that it adds to the characters. It's a heist movie that isn't really about the heist at all because in the aftermath, we in the audience begin to learn more about the original five; in a horrific twist, Ogiwara is revealed to have a truly sinister reason for being as wacky and high strung as he is; Jimmy has his own motivations and problems; Hizu probably ought to have known better.

And it would be absolutely unforgivable of me to fail to mention one of the biggest subversion of the typical yakuza or heist movie that this film brings to the table: THE GAYS. While films like this where 95% of the characters tend to be men have always had homoerotic trappings (indeed, most gangster/crime movies brimming with machismo end up circling back around to something queer), "Gonin" takes it a step further in a way that truly feels fresh even 26 years later.

The film opens with a dream sequence from Bandai's point of view that reveals some version of the events of their first meeting: Bandai is walking through a glimmering, brightly lit alleyway, having found the dropped driver's license belonging to Mitsuya. He finds Mitsuya beating a man with a bat, and rather than appearing horrified, as Mitsuya turns to look at him, Bandai is struck by awe. He sheds tears as Mitsuya's face is revealed. The over-exposed alleyway in his dream is reminiscent of something celestial. Later, they meet again in real life and there is something unmistakable charged in the air between them. Without revealing exactly what takes place: "Gonin" contains a gay love story that is both understated and RIGHT IN YOUR FACE. Critics at the time of "Gonin"'s release described the film as "Reservoir Dogs but gay", which is a feat in and of itself, if you've ever seen "Reservoir Dogs". Another component of that is that the scary hitmen that the yakuza hire to track down "the five" are also explicitly introduced as a queer couple. Truly, there is something in this movie that speaks directly to things I have always wanted to see in a movie. It's a hot mess. It's a horror story. It's a romance. It's a tragedy. It may seem slow moving at times, but even in the slow moments, it seems only to be lingering in the world of the film.

I could just be hyping it all up a little with that last part, but I truly think this is a good film, and one that appears to have been quite overlooked by many audiences today (at least of the people I know, which is why I am writing this review to let them know about it, haha). I think it's probably due to the fact that this film seems so... unavailable for streaming. But if your interest is piqued, IT'S WORTH A WATCH, OKAY?

The music of this film also deserves a special shout out, I think. The soundtrack keeps things moving along and keeps the sense of mystery alive. I mentioned briefly in this review that the mood is quite good throughout the film, and it is. The fact that this movie was captured on film gives it that tasty film quality that makes you want to rub your hands all over it. The city nights are lit by neon lights and a beautiful, sickly green. Lighting is done with purpose here; highlights are utilized to their full dramatic potential. The opening credits of the city in green and blue tones alone will excite you for the colors and pictures to come.

All I can say is that I hope more people watch this movie. I've been talking about it to people non-stop since I watched it a few days ago (probably to the point that they will be disappointed if/when they actually do see it, but oh well lol). There's just something about it that is so unique to me. It's something I would not have expected to have been made in 1995 (never mind today), but I'm glad it was, and that I stumbled across it.

(Review crossposted to letterboxd)