Private Project

Yuzo the Biggest Battle in Tokyo

In 2020, the world is threatened by COVID-19. The virus threatens not only people’s health, but also the economy. Yuzo Ooki, who has been enjoying a remote life in Tokyo, is unexpectedly fired. Managing to find a new job, Yuzo navigates the maze of crazy coworkers: the money-grubbing president, the fitness instructor with no members, the garbage thief in the name of waste recycling, the sales manager addicted to gambling, and the man who dresses as a dog! Yuzo is undaunted, yet struggles. However, he is bullied by these new workmates and dumped by his girlfriend. Then, Yuzo gives in to despair. In that moment an alien encounter changes everything as it feeds off the co-workers and melds with their madness creating an explosion of energy that plunges the town into chaos. Only Yuzo can save them from this crisis. Beaten down to the depths of despair, but now he rises to his feet. Yuzo!!

  • Yoshikazu Ishii
    Attack of the Giant Teacher, Ultraman Ginga, Ultraman Ginga S
  • Yoshikazu Ishii
  • Gen Tanaka
  • Yoshikazu Ishii
  • Takehiko Fujita
    Key Cast
    "Yuzo Oki"
  • Masanori Machida
    Key Cast
    "Masakane Ijuin"
  • Takuya Fujisaki
    Key Cast
    "Susumu Jimichi"
  • Tetsu Saiki
    Key Cast
    "Kaneto Ijuin"
  • Manami Kusaba
    Key Cast
    "Reiko Sugimoto"
  • Bakkoo Maeda (SHUNKAN METAL)
    Key Cast
    "Kagemaru Hyuga"
  • Takashi Toyota
    Key Cast
    "Ken Kurata"
  • Hironobu Yukinaga
    Key Cast
    "MIyao Nekojima"
  • Takanori Chujo
    Key Cast
    "Makoto Kido"
  • Hironobu Nomura
    Key Cast
    "Enishi Usui"
  • Yoshihito Takahashi
    Director of Photography
  • Hidehiko Ameta
    Sound Mixer
  • Daisuke Sato
    Monster Modeling
  • Koichi Kawano
    English Subtitles / Oversea Sales
  • Project Type:
  • Genres:
    Sci-Fi, Comedy
  • Runtime:
    1 hour 28 minutes 41 seconds
  • Completion Date:
    April 6, 2022
  • Production Budget:
    7,000,000 JPY
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Kansas City Underground Film Festival
    Kansas City, MO
    United States
    September 23, 2022
    World Premiere
    Jury Award for Best Feature
  • Buenos Aires Rojo Sangre horror film festival
    Buenos Aires
    November 22, 2022
    South America Premiere
  • San Francisco Another Hole in the Head Film Festival
    San Francisco, California
    United States
    Audience Award for Best Fantasy Feature
  • Pambujan International Film Festival
    Pambujan, Eastern Visayas
Distribution Information
  • Cinemago
    Country: Japan
    Rights: All Rights
  • todoiF
    Sales Agent
    Country: Worldwide
    Rights: All Rights
Director Biography - Yoshikazu Ishii

After graduating from the Tokyo High School, he studied abroad at the University of Nevada, Reno, USA, for a short period.
After returning to Japan, he was introduced to the film set by director/screenwriter Kanji Kashiwabara and began working as an assistant director.
Later, he found a mentor in director Noribumi Suzuki and participated in "Bungakusho satsujin jiken: Oinaru jyoso(Murder at the Literary Award: Big Runaway) " and his other films.
After meeting Koichi Kawakita, director of the Godzilla Heisei series, he began working in the field of special effects. Participated in films such as "Godzilla Final Wars," "Aegis," "Sinking of Japan," and "GANTZ" as an assistant director of special effects.
He made his directorial debut in 2006 with "Cool Dimension.” Since then, he has been working as a director (including special effects) of "Ultraman Ginga" and "Ultraman Ginga S" for television.

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Director Statement

Because of the sudden outbreak of COVID-19, the lives of people around the world have changed in an instant. As a filmmaker, I considered what I could do and what I should do.

The ongoing COVID-19 catastrophe made me want to make a comedy to encourage laughter, joy and that cheerful feeling of happiness. Also, I wanted to use the unique Japanese special effects that I have been working on. That’s why I planned this film.

Nowadays, it is difficult to produce films with physical special effects in Japan due to financial limitations and other reasons. Can we afford to lose the Japanese tradition of films and techniques using special effect photography? I made this film with the desire to preserve this method of filmmaking for the next generation and to spread it throughout the world.