《小奏鸣曲》《花火》《菊次郎的夏天》……如是等等极具风格化的作品让全世界认识了日本男人北野武，并且不吝溢美的言词将其奉至电影大师的高度；而在日本，他作为漫才师、搞笑艺人、主持人的身份更为人熟知，日本国内票房惨败的阴影下，人们似乎更关注这个浅草来的坏小子如何因车祸摔得半死，又如何带领一群凶神恶煞冲入周刊编辑部制造混乱。然而那个才是真正的北野武，却谁也说不清楚。受法国广播电视局邀请，北野武参加了《我们时代的电影》系列访谈节目的录制，在镜头前，他谈论了暴力、影像风格以及对自己对社会的些许看法与感悟。呈现出一个不一样的北野武。

《小奏鸣曲》《花火》《菊次郎的夏天》……如是等等极具风格化的作品让全世界认识了日本男人北野武，并且不吝溢美的言词将其奉至电影大师的高度；而在日本，他作为漫才师、搞笑艺人、主持人的身份更为人熟知，日本国内票房惨败的阴影下，人们似乎更关注这个浅草来的坏小子如何因车祸摔得半死，又如何带领一群凶神恶煞冲入周刊编辑部制造混乱。然而那个才是真正的北野武，却谁也说不清楚。受法国广播电视局邀请，北野武参加了《我们时代的电影》系列访谈节目的录制，在镜头前，他谈论了暴力、影像风格以及对自己对社会的些许看法与感悟。呈现出一个不一样的北野武。

看过北野武的影片，就绝不会轻易忘掉他饰演的角色。他的脸孔独特又难以捉摸，在饰演千万角色时呈现出千万种状态。 　　《公民北野武》是对日本导演北野武艺术生涯和形象的一次全面展示。通过丰富的采访和影像资料，带领观众探寻北野武作为疯狂的电视喜剧演员、电影演员和视觉艺术家等多重身份之下的真实自我。中国导演贾樟柯和刁亦男亦有出镜。

這是一齣以北野武的自傳，重現其少年時代的影片。高中畢業後的北野武，先是努力當上「色情鬧劇場」的打雜小弟，後拜師學藝，在橫衝直撞後，逐漸闖出一番天地。除打拼過程外，還能見到傳統師徒制的情與義、台前幕後的同甘共苦、淺草﹙地名﹚的沒落式微，是一部笑中有淚，令人動容的奮鬥史！

北野武在澳门国际喜剧节宣布将和白客合作一部喜剧电影，预计今年秋天前完成剧本，年底开机。

北野武在片中一人分饰两角，一个是自己本身，另一个则是以成为演员为目标的白领。导演北野武在电影节是个超级大忙人，而完全不知道导演北野武的普通白领北野，则每天都在为生活努力奋斗。一次偶然的机会北野见到了大导演北野武，于是开始了迈向演员的道路，并为导演北野武的电影世界着迷不已。

北野武在片中一人分饰两角，一个是自己本身，另一个则是以成为演员为目标的白领。导演北野武在电影节是个超级大忙人，而完全不知道导演北野武的普通白领北野，则每天都在为生活努力奋斗。一次偶然的机会北野见到了大导演北野武，于是开始了迈向演员的道路，并为导演北野武的电影世界着迷不已。

First major English-language documentary profile of the cult Japanese actor/director, Takeshi Kitano. Featuring interviews with many of his regular contributors and colleagues, the film explores Kitano's rise from working-class poverty to superstar of Japanese radio, TV, comedy and journalism, and follows the making of his US-Japanese gangster film, 'Brother'.

《北野武的电视擒抱》是日本朝日电视台的长寿直播节目，栏目创立于1991年4月1日。讨论节目以社会科学为话题。来宾多数为政治家和专家。

Extras start off with "That Man Is Dangerous: The Birth of Takeshi Kitano" (20:20) in which producer Masayuki Mori (Brother) reveals that the film was originally to be directed by Kinji Fukasaku (Battle Royale) who withdrew from the production when Kitano could not accede to his requirement of two months of his schedule due to Kitano's busy schedule. Mori suggested Kitano direct the film himself because he was already heavily involved in writing, staging, and multi-camera editing on his television shows. He also reveals that Kitano so thoroughly "rewrote" the original comic script by Hisashi Nozawa that the author asked to have his name removed from the credits. Said rewriting consisted of improvising nearly ninety-percent of the film, retaining only names and settings, as co-star Ashikawa recalls. Recruited both as an actor and as a player on Kitano's amateur baseball team, Ashikawa recalls nervousness at Kitano's lack of direction for him only to realize that Kitano knew exactly where he was going with the character of Kikuchi from the start. Mori also recalls Kitano's conflicts with the crew, including the cinematographer with whom he disagreed on the framing and length of takes (Mori notes that the cinematography is thus a clash of styles between their two preferences). Other extras include the film's original Japanese trailer (2:16) and a new re-release trailer (1:22) created by Film Movement, along with previews for other releases. Included in the case is a collector's booklet by Tom Vick, the Asian film Curator for the Freer and Sackler Galleries (The Smithsonian's Museums of Asian Art).