As much as it is about politics (anarchy, rebellion, the lies of nationhood and imperialism, etc.), Izo also contains the key to Miike's personal creative philosophy. Consider that Miike is probably one of the most prolific filmmaker's of all time. It has been said by other critics that he is more in love with the process of making movies, than having made movies. Many filmmakers I have worked with seem to prefer having made the movies--having that list of accomplishments to look back on, to show others, to impress people with. I think Miike strives for continual rebirth through his work, much like Izo strives for transformation through the act of nonstop destruction and homicide. Izo's transformation is one from apparent humanity to inhumanity--a fanged, drooling, screaming, red eyed demon. When Izo runs the treadmill of infinity in this film he is struggling to break free of the cycle of death and rebirth that ensnares humanity. Only Miike would boldly portray a man of incredible violence and ruthlessness as having what it takes to burst through all of that to a final confrontation with a powerful being that may be God itself. I prefer to think of Miike this way, a maniac railing against all things--nationhood, conformity, morality, ethics, religious authorities, military authorities, sexuality, family, the workplace, and , in this movie at long last, against God itself. For those of you who have seen this movie, I urge you to compare Izo with Ichi from Ichi the Killer, and Izo's ultimate rebirth with similar imagery from Gozu. I would suggest that the fate of the protagonist of Audition is also a form of rebirth. Izo is a stunning testament to the power of sheer determination, guts, and the willingness to battle all foes, be they God or less, which drives so singular and inspirational an artist as Takashi Miike.