In a dystopian near-future Japan, law and order is enforced by a brutal paramilitary police unit known as the Kerberos Panzer Cops, aka ‘Watchdogs of Hell’, equipped with heavy weaponry and reinforced body armor called “Protect Gear.” However, when their extreme methods spark public outcry, the government moves to dismantle the unit. Disobeying orders to disband, a trio of officers stage a rebellion — but only one, Koichi Todome (Shigeru Chiba), escapes. Three years later, Koichi returns to Tokyo after living in exile, carrying a mysterious suitcase. He seeks to reunite with his former comrades and uncover the truth behind the crackdown, but he soon finds himself in a surreal and dreamlike city — a shadow of its former self, filled with strange characters, elusive memories and Kafkaesque absurdity. As reality begins to unravel, Koichi descends deeper into paranoia, unable to tell friend from foe, truth from illusion.
A philosophical blend of film noir, political allegory and existential mystery, THE RED SPECTACLES is a visually striking black comedy that meditates on justice, memory and the cost of loyalty. It also serves as a foray into live-action filmmaking for animation master Mamoru Oshii (ANGEL’S EGG, GHOST IN THE SHELL), and his first feature installment in the Kerberos Saga.
“The 4K restoration…is impeccable, accentuating cinematographer Yousuke Mamiya's harsh treatment of dark, light, and shadow. Being that Oshii's film traffics so much in the murky line between morality and depravity, the restoration is an especially welcome update…. Oddly enough, considering the timing of the release of this 4K restoration, THE RED SPECTACLES does share much in style of satire with Paul Thomas Anderson's ONE BATTLE AFTER ANOTHER.” —Gregory Nussen, ScreenRant “Once dismissed and largely forgotten after its troubled 1987 debut….THE RED SPECTACLES drifted into near-lost media status, where its memory was kept alive by die-hard fans. That obscurity has now been upended by fan-funded 4K restoration, drawing the support of nearly 3,000 backers.” —Maxwell Rabb, Screen Anarchy
