Tsukamoto Shinya takes up his personal analysis once more and criticizes Japanese post-war society that he had begun to do in Tetsuo and Tokyo Fist. The Tetsuo protagonist who becomes the Iron Man is a clear allusion to industrial Japan dependent on machinery. In Bullet Ballet, Tsukamoto shows national collectivism, represented by the Salary Man as the cause of alienation and loneliness of modern living.

     Goda (played by Tsukamoto himself, also responsible for the script, camera-work, and montage for the film) is a yuppie in Tokyo. He works as TV producer and leads a life of luxury that is brusquely interrupted when his girl-friend shoots herself in the head. Although he is still shaken by the death of the girl, he decides to resume his routine.

     He is seduced by a young punk, whose friends do none else than to humiliate him. These are youngsters devoid of feeling, either for themselves or for others.

     Goda would have vengeance and wages an implacable war, a battle between the first and the second generation of mutants. Photography in black and white and camera in hand intensifies the atmosphere of perdition, not as strange as in Tsukamoto's former films, but equally frightening.