To begin with, Haruka, Nana, and Takanori head over to Sota’s place, who is one of the band members that has been missing in action for a long time, and hasn’t reached out to them. With every window blocked by newspapers, the house looks like it has been abandoned for years. On the other hand, Sota very much appears the same and seems to not care about anything. While he offers the girls some tea, one girl accidentally steps in some green goo and unfurls infront of everyone as a blood thirsty demon. It feels as though death is approaching them, however, Haruka takes charge of the situation.
Moving to the second arc, the bar owner goes on to abduct a regular passerby and brings him to an unknown place where monsters show themselves. In the last one, humans and monsters seem to live together, but there are a few enemies left, one of them being Haruka. Before she know’s it, she is turned into a chainsaw monster, and here the process starts again.
As we have mentioned in the review of the short: Kenichi Ugana “plays” with two aspects. The first one dwells on hikikomori, with Sota portraying stereotypically hikikomori but considering that to be the main comedic aspect of the short, as his detachment from what is happening around him is quite amusing, especially in the manner Ugana capitalizes on his being there for jump-scares to. The second one is the survival horror, where the director slowly constructs the dread, first only using the sound and later also the sound with the image, the movie turns into an overwhelming but also surreal and still funny sequence with quintessential bloody moments.
The extra arcs add greater dimensions. The issue of immigration and the persecution of immigrants is often suggested which Ugana touches on and the issue of racism in general is also addressed. In addition, music is turned into a factor as the narratives’ center, with ILA MORF OEL and Keefar’s punk sounds serving as an integral part of it, adding to the humor and the grotesqueness here, but surely in the entertainment that the movie provides. Especially the parts that serve as music videos are likely to be unforgettable as well due to the skillful editing work of Masashi Komino, who has managed to create the right rhythm.
The ideas of how these characters are created, vividly recalling the ghosts of such films as “Tokyo Gore Police” and even “Walking Dead” here, do not blend at all. The blood and guts cum buckets interactive VFX carry the touch of grotesque humor injected by Miyuki Wakamatsu, a female character in the film needless to say. The way Ugana depicts the chainsaw girl is very humorous and hilarious in the sense that she is depicted to work on a field, along with the world’s only bidecked sumo wrestlers’ mistress. In a slightly comic series of the movie Shiho is better in the position of Haruka than buried in monster mak-up.
In all out opinion ‘Visitors Complete Edition’ is certainly Commedia Della Arte, but in all of its vividness it shines more as an incredibly cheap movie at best with minimum budget as well as time and labor invested to make it and democratization which rather seems to help.
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