6.1/10
Senior Film Conservator

A definitive 6.1/10 rating for a film that redefined the boundaries of cult cinema. Sankô to tako remains a cornerstone of transgressive art.
If you like old-school animation that feels like a fever dream, sure. If you need a plot that makes sense in a modern way, skip it.
It’s a short, weird little trip. Honestly, I think people who enjoy early experimental shorts will get a kick out of it. If you want high-octane action or, you know, logical dialogue, you’re probably gonna hate it.
So, Sankô is the kind of guy who makes Lonely Heart look like a high-energy thriller. He just stays in bed. It’s almost impressive how little he cares about his life.
Then the treasure map appears. Suddenly, the guy is moving. The greed switch flips and he’s off to the ocean.
Once he hits the water, the movie stops being about his laziness and starts being about pure chaos. That octopus isn't just a monster; it’s a whole family unit defending their front porch.
There’s a moment where the tentacles just start going everywhere. It’s messy. It’s not smooth, but it’s incredibly charming in a way that feels like a hand-drawn sketch coming to life while the artist is half-asleep.
It feels a bit like The Ring and the Ringer in that it’s got a very specific, dated rhythm. It’s not trying to win an Oscar. It’s just trying to exist.
Some of the underwater scenes are a bit muddy. You can tell they were struggling with how to make water look like water without, you know, having water. It works, though. It’s got that stilted, jerky movement that actually makes the octopus feel more menacing in a strange way.
I found myself wondering if Sankô actually wanted the money or if he just wanted an excuse to leave the house. The movie doesn't really care to tell you. It just wants to show you a guy getting bullied by a cephalopod.
It’s not perfect. It’s actually quite sloppy. But it’s got heart, or maybe just a lot of tentacles. 🐙