21. A Horror Film That’s Shot on Mini-DV (But is not a found footage film).

I don’t know if this is horror to be exact but it’s Takeshi Miike, so anything goes. Part of the Love Cinema series, which contains six straight-to-video releases by independent filmmakers that played an exclusive engagement at the Shimokitazawa cinema in Tokyo, this was made on digital video to keep the budget low but also capture the look of the video camera used in the movie itself.

The other films were Ryuichi Hiroki’s Tokyo Trash Baby, Mitushiro Mihara’s Amen, Somen and Rugger Men!, Isao Yukisada’s Enclosed Pain, Tetsuo Shinohara’s Stake Out and Akihiko Shiota’s Gips.

Like Terence Stamp in Pasolini’s Teorema, Visitor Q comes into the lives of the Yamazaki family and changes their lives. Of course, he also beats the father Kiyoshi (Kenichi Endō) over the head with a rock, teaches the mother (Shungicu Uchida) the magic of lactation and throwing knives at her abusive son, explores the incestuous relationship that the daughter Miki (Fujiko) has with her father and teaches the son (Jun Mutō) to be less violent while still encouraging his parents to murder and hack up his bullies from school.

Somehow, through chaos, necrophilia, vinegar filled bathtubs, heroin and murder, the family comes back together. Visitor Q has filmed it all, yet created something magical through his rock bashing psychological torture, I guess. The family unit thrives. Somehow, in the midst of all the blood, feces and breast milk, a traditional heart beats. Who knew Miike had it in him? Then again, he does reinvent himself with nearly every movie.

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