Anatomia Extinction (1995) is my favourite of Nishimura's movies as well, in fact, one of the best Japanese films of the 1990's. The Tsukamoto comparison is spot on -you could swear half of the shots were borrowed from Tokyo Fist weren't Anatomic Extinction actually released before Tokyo Fist. The film deserves to be acknowledged as one of the best cyber punk films ever made.
Speakerman - The Boo (2004) is a nice film, too. A heart-warming fantasy about a lovely mutant creature. The film was shot in Yubari. I actually have a Speakerman keyholder which I wear every time I go to Yubari.
Nishimura's 1980's films are quite good, too.
Paradox (1984)* is an episode film which begins as a street gang / punk film, clearly influenced by Sogo Ishii and Walter Hill's The Warriors. It then turns into a strange fantasy with the God's voice coming from a radio and telling teens what to do, and eventually slasher/splatter with re-animated pieces of meat slaughtering teens on a summer cottage. The score in this episode modelled after John Carpenter's Halloween theme, and there are some great gore effects like a head splitting in two, and brains coming out through eyeholes. Finally, the film concludes with a re-imagining of Michael Jackson's music video Thriller, with a young lady escaping zombies in the night. The four episodes are titled "Paradox", "God Damn", "The Meat", and "Thriller" and all feature the same cast. The film is fully comparable to the 8mm works by Sogo Ishii, despite some small technical flaws, and an amazing achievement from Nishimura who was only 16 years old when he directed it. The film runs roughly 40 minutes.
The Face (1985)* is another early work by Nishimura. This romantic fantasy follows a detective who is killed with an axe, only for his face to mysteriously morph into a young man stomach. Together the young man, who obviously faces challenges in his love life after this new "body part", and the detective's face go searching for the murderer. Hardly any blood and gore, but nice special effect, and just like Paradox, Nishimura really impresses with his skill shooting on lively streets and using energetic 1980's rock and pop music on the soundtrack.
The Saints Come Marching In (1986)* begins as a cheerful youth / high school film, but then takes a sudden turn into horror when its protagonist gets chased by mysterious masked killers in the night. Nishimura jokes the film is un-releasable due to its casting: the leading actors Tokuma and Renho Murata are now famous politicians who don't necessarily want their past in a Nishimura movie to be revealed.
Fake Country (1987)* is the most ambitious of the early Nishimura films. The dark dystopia is set during WWIII, in which Japan is using human missiles. One of the kamikaze pilots, however, tries to escape and chased by army forces. It's visionary but extremely dark film taking place entirely during night time. Nishimura actually submitted it to Pia Film Fest, which did not screen it but received a note from one of the jury members saying he personally thought it was fantastic.
All of the films run 40-50 min each.
* The production years are estimates, since they are not listed in any databases I know of. Nishimura said he directed the first film when he was 16, and the other three when he was 1st/2nd/3rd year student in university
Stills from The Face and The Saints Come Marching In