Sci Fi alien invasion thriller drama. Maybe too long but pretty good to be a nowadays Kiyoshi Kurosawa flick, and with that somewhat
whimsical and quirky quality that some of his classic one's had, as Charisma and Doppelganger. Charisma probably being my
favourite KK movie of all time, with it's unique enigmatic qualities. But his Cure and Pulse are up there too among my KK favourites.

After 2008 Tokyo Sonata the golden period of Kiyoshi Kurosawa was over, and he's working at a lower level since then even if he still
occassionally cranks out a decent film, as this film and TV series Penance. I don't give a shit about what Western film critics has to say
about that statement - but it's the truth. KK's contact with western assholes has contaminated his filmmaking and subconsciously or not
he has adapted to their tastes. It's almost always detrimental to an asian filmdirector's work when he socializes with westerners (meeting
Tarantino in Takashi Miike's case or working in Hollywood as Korean favourite Park Chan-wook did).
But hey, it's not just detrimental to asian director's but to any director working in The Shit Factory, as it will drag their work down to the
lowest level possible. Alexandre Aja, french director, made a brilliant horror with his Haute Tension, and went to Shitville and made Shit.

Reversible sleeve

In the intro scene we get to see a schoolgirl walking from a house where dismemberment killings has taken place, yes, just like some
Sion Sono movie. The image of Killer Schoolgirls seems to carry some special meaning of profoundness and sexuality to Japanese men ?
A woman, Narumi Kase, has a problem with her husband as he has lost his memory and walks like a zombie. A journalist, Sakurai, is
sent to the above crime-scene where he meets a strange young man who says he's an alien and that they have invaded the earth.

As i mentioned above this film, i think, is somewhat of a return to some of his older films as Charisma and Doppelganger in style with
much welcome quirkyness and some enigma to the ongoings.Yes, not as good as the oldies naturally but still a pretty good one.
Also with the Kiyoshi Kurosawa trademark, the heightening of reality with darkening of the scene and with apocalyptic skies.

The film is presented in widescreen 2.39:1 with a japanese audio DTS-HD MA 7.1 or stereo with english subtitles, region B.
Extras: The Making of (53 minutes, 2017), Looking Back (22 minutes), Inside the Story and Inside the Characters, Screening events
from i.a. Cannes and with Q&A, theatrical trailer and a Booklet with text and photos