
Daicon Film's Return of Ultraman
1983

Representation Score
Minimal
2025
Director
Ryo Fujii
Runtime
105 minutes
Average Rating
No ratings yetNew Showbiz Analysis
The film adapts Taro Okamoto’s surreal art into a tokusatsu narrative, centering on a male artist and male superheroes. The cast is predominantly male, with only one female actor listed in a supporting squad role. No LGBTQ+ characters, racial minorities, or disabled characters are mentioned in the available materials. The production is Japanese with a Japanese cast and setting. The film appears to celebrate a specific Japanese artistic heritage without engaging in broader social commentary. Evidence is limited to a brief synopsis and cast list.
Category Breakdown
No LGBTQ+ characters or same-sex relationships appear in the available materials. The narrative concentrates on surreal superheroes and villains without exploring queer identities or relationships.
The top-billed cast is almost entirely male, with only one woman listed as a squad member. The synopsis highlights a male artist and male-led superhero figures, reinforcing a male-dominated perspective.
The production is Japanese with a Japanese cast and setting. No characters of other racial or ethnic backgrounds are identified in the provided materials.
The film adapts the surreal art of Taro Okamoto into a tokusatsu story set in Osaka. It honors a specific Japanese artistic legacy rather than critiquing Western institutions.
No characters with physical or mental disabilities are identified in the synopsis or cast list. The story centers on time travel and superhero battles without addressing disability.
Present on Screen
Limited or Absent
Official Synopsis
Osaka was the the site of Expo ’70, and among the most memorable elements of the event, standing to this day, is the "Tower of the Sun", a 70-metre-tall sculpture/building envisioned and designed by renowned artist Taro Okamoto, who some call “the Japanese Picasso”. This film is a theatrical adaptation of "TAROMAN", a tokusatsu series re-envisioning Okamoto's most famous pieces as surrealist superheroes and villains, with Ultraman-like TAROMAN, based on the Tower itself, at the forefront of it all.

1983

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