‘Crouching Tiger’ Producer Assembles Martial Arts Stars for ‘Furious’

Action choreographer-turned-director Tanigaki Kenji is betting that audiences are hungry for authentic martial arts cinema. His new film, “The Furious,” which world premieres at the Toronto Film Festival‘s Midnight Madness section Sept. 6, brings together what may be the most formidable collection of Asian action talent since Hong Kong’s golden age.

“I want to tell the world that we are still alive and we are capable to do even better action movie for the world,” says veteran producer Bill Kong, whose credits include “Crouching Tiger, Hidden Dragon” and “Hero.” Kong, who hadn’t made a martial arts film in years, was drawn back to the genre after reflecting on its current state. “It’s been over 10 years since ‘The Raid’ came out. Where are all the great martial art formations anymore?,” he says.

The answer, Kong and Tanigaki believe, lies in “The Furious,” a child trafficking thriller that follows two men — a father searching for his kidnapped daughter and a journalist looking for his missing wife — as they unleash their combat skills against a criminal syndicate in an unnamed Southeast Asian country. After TIFF, the film screens in Busan’s Midnight Passion strand.

The film’s pan-Asian cast reads like a who’s who of contemporary action cinema. Xie Miao, who starred alongside Jet Li in classics like “The New Legend of Shaolin,” plays the desperate father Wang Wei. Joe Taslim of “The Raid: Redemption” portrays journalist Navin, while the ensemble includes Thai action star Jeeja Yanin (“Chocolate”), Indonesian martial artist Yayan Ruhian, Japanese-American fighter Joey Iwanaga and rising star Brian Le.

“Every actor has their unique background,” explains Tanigaki, whose choreography credits include “SPL,” “Flash Point” and the recent Hong Kong blockbuster “Twilight of the Warriors: Walled In.” “I just bring their pureness and their uniqueness.”

For Taslim, the project represented both a creative challenge and a personal mission. “I’m quite picky, because even though people know me as an action guy, action should complement story, and story needs to be the main thing,” he says. The Indonesian actor was particularly drawn to the film’s exploration of child trafficking in Southeast Asia. “It’s something personal to me. I have three kids. This is a story in Southeast Asia that’s still happening now, that people need to hear.”

What sets “The Furious” apart from typical action fare is its commitment to authenticity. Tanigaki, who has spent over 20 years as Donnie Yen’s key collaborator, ensured that each fight sequence showcased the actors’ genuine martial arts skills without relying heavily on stunt doubles.

“The action is very different from ‘Walled In,’” Tanigaki notes. “We are very focused on realism, and I’m satisfied that we are pushing the boundaries of martial arts movies.”

The film’s centerpiece is a climactic five-way fight sequence set in a police station that required an extensive 18-day shoot, which Kong describes as “bigger than anything because it’s something that you rarely see.” The scene brings together five fighters from different backgrounds, each driven by their own fury.

“Everybody angry. Everybody furious. That’s why this movie is called ‘Furious,’” says the helmer.

Taslim compares the challenge to a musical performance: “If you want to create great art, there is a sacrifice you have to pay. In action scenes, sometimes it’s safe to use the double, but there’s something missing. It’s a song — you cannot replace a vocalist in between when there’s a high note.”

While “The Furious” pays tribute to martial arts classics — including Bruce Lee’s “The Big Boss” — the filmmakers see it as a progression rather than mere nostalgia. The film evolves from 1970s-style homage to contemporary action sensibilities.

The production, shot entirely in Bangkok, includes numerous Easter eggs for genre fans, from costume choices to fight choreography references. But Tanigaki emphasizes that the emotional core drives everything.

“Every time choreography and action and emotion must stick, must walk together,” he says. “We have that mutual goal to make a very emotional action film.”

Kong sees “The Furious” as part of a broader mission to reinvigorate Asian action cinema for global audiences. “We want to tell the world that there are still good action, martial art films. We are here.”

The film’s journey reflects this ambition. XYZ Films, known for “The Raid” franchise and “The Night Comes for Us,” is handling international sales, while Kong’s Edko Films will distribute in greater China.

While the filmmakers remain focused on audience reception, they’re optimistic about continuing their collaboration. “There’s nothing I want more than to work with the same team of people,” Kong says when asked about potential sequels.

Taslim echoes the sentiment: “It’s a dream team. … working with Bill and Tanigaki, it was an honor.”

As martial arts cinema seeks to reclaim its global prominence, “The Furious” represents both a return to authentic action filmmaking and a statement of intent from industry veterans determined to prove that great fight choreography and compelling storytelling can still captivate worldwide audiences.