Lupin the IIIrd the Movie: The Immortal Bloodline Review (Scotland Loves Anime 2025)
The gentleman thief is back. Lupin the IIIrd is one of the most iconic anime characters of all time. Serving as a platform for some of the most influential creators in animation to flex their creativity. Hayao Miyazaki and Isao Takahata, co-founders of Studio Ghibli, worked on the original Lupin TV series, and Miyazaki’s first directorial film was Lupin III: The Castle of Cagliostro. More recently, Takashi Yamazaki, director of Godzilla Minus One, helmed the previous theatrical Lupin the IIIrd adventure. Now, Takeshi Koike, known for the cult anime Redline, brings his interpretation of Lupin to the big screen with the conclusion to his OVA series. Even though I’m a Lupin novice, Lupin the IIIrd the Movie: The Immortal Bloodline is a peculiar film that is entertaining but feels overly chaotic.
Opening with an extensive recap of three OVAs and a prequel film, the film transitions to Lupin (Kanichi Kurita), Jigen (Akio Ōtsuka), Goemon (Daisuke Namikawa), and Fujiko Mine (Miyuki Sawashiro) while they board a plane and travel to an island hidden within the Bermuda Triangle. Lupin believes the island is where the mastermind behind the foiled assassination attempts is located. As they make their way, Inspector Koichi Zenigata (Koichi Yamadera) is, as always, hot on Lupin’s trail. After being shot down, the crew is split up and stranded on a mysterious island marked by red rivers and a pulsating landscape. There, they encounter the very hitmen they believed they had defeated in the past, and a mysterious and seemingly immortal entity known as Muom (Kataoka Ainosuke).
While Lupin the IIIrd the Movie: The Immortal Bloodline features the iconic quartet, Fujiko Mine feels underutilised and reduced to an object of sexual gratification for the audience. Early on, she is stripped naked and placed on a fiery hot platform for the island’s inhabitants to worship. The scene is presented in a ritualistic, tribal manner, implying a very problematic construct that undiscovered civilisations are inherently sadistic as they strip women of their dignity and pride for ceremonial purposes.
After she is rescued by Goemon, Fujiko is dressed in clothing that leaves little to the imagination regarding her upper body, and in addition, the clothes also seem to defy physics. While I believe that female characters should be empowered to embrace and flaunt their sexuality, it must serve a meaningful purpose, either through character development or narrative progression. In The Immortal Bloodline, it does neither. Fujiko Mine is presented almost solely through her sexuality, with little narrative justification, a prime example of fan service.
This is frustrating, as Lupin, Jigen, Goemon, and Inspector Koichi Zenigata’s presence on the island is intertwined with the narrative, and their actions actively drive the plot forward. However, the film’s greatest weakness lies in its narrative identity. Lupin is renowned for disguising himself as others, much like Ethan Hunt in Mission Impossible or Kaito Kid or Detective Conan. In a way, this film feels like a disguise itself: presenting as a Lupin the IIIrd adventure, but in truth, it’s a pulpy B-movie sci-fi film. It’s a bold narrative shift, but whether it will work with loyal Lupin the Third fans remains unclear. As I watched, I couldn’t shake this sense of dissatisfaction as I wanted to be wowed by a daring heist rather than sci-fi jellyfish.
Thematically, Lupin the IIIrd the Movie: The Immortal Bloodline, in its latter half, is rich with texture and meaning, exploring how immortality can devalue life. Objects hold significance because of the memories we attach to them. To one person, a hat might be just a hat; to another, it could represent a lost loved one or a cherished moment in their life. What makes life valuable is the fact that we often fail to realise its worth while we are alive. It’s a sincere message that extends to art itself: art may be immortal, but the artists are not. We rarely grasp the true impact of our favourite artists’ work while they are still alive.
Artistically, the film is utterly stunning. It marks the first traditionally animated solo Lupin the IIIrd film in over 30 years, and every frame is breathtaking. How the island breathes and transforms as the characters explore its vivid landscapes adds to the B-movie charm artistically. Takeshi Koike’s style has been evident since the OVAs and is present throughout this film. The action sequences are animated with such intensity that it’s impossible not to be swept up in the spectacle, especially during the inventive X-ray shots that reveal characters’ bones breaking. It’s a striking stylistic choice that introduces a brutal yet unique flair to the action.
Lupin the IIIrd the Movie: The Immortal Bloodline is a bold yet ambivalent conclusion to Takeshi Koike’s Lupin the IIIrd franchise, which began over eleven years ago. It features a thematically rich second half, stunning animation, and exhilarating action. However, it is held back by its B-movie narrative and problematic portrayal of its sole adult female character, Fujiko Mine. Ultimately, it results in a serviceable film that leaves you desiring more.
★★★
Screening as part of Scotland Loves Anime 2025 on October 31st and November 16th /UK and Irish cinemas 21st February 2026/ Kanichi Kurita, Akio Ōtsuka, Daisuke Namikawa, Miyuki Sawashiro, Koichi Yamadera, Kataoka Ainosuke / Dir: Takeshi Koike / 15
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