Cute plush aliens named Moja arrive on Earth to eradicate humanity as punishment for suffering and environmental destruction. However, in several episodes, the film presents situations where the aliens encounter humans and their life problems, leading to a change in their opinion of humanity.
We Are Aliens is screening at International Film Festival Rotterdam
Kenichi Ugana continues the habit of extending his earlier short films into features. Like “Visitors: Complete Edition” (2023), this newest creation opens with the pre-produced short as one of many episodes introducing us to the alien characters. “We are Aliens” was made to commemorate the 20th anniversary of the fashion and culture magazine “Nylon Japan” and can also be seen as a kind of promotional movie.
The existential alien musical about alienation and social expectations tries to catch the viewer with its heart-warming protagonists. Still, most of the scenes are way too long, consist of endless question-and-answer sessions, and radiate low energy. The editing and cinematography by Koichi Furuya (“Mr. Long” 2017) are stiff and do not provoke any stimulating effects. Even though the interactions between mankind and aliens demonstrate the asociality of society and help their human counterparts to see the world in a cathartic, self-healing way, the omnibus narration is painfully pointless.
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Kenichi Ugana’s script misses many chances by lecturing the audience instead of telling a real story. The core topic and its intentions behind “We are Aliens,” showing the missing connection between people in our world, are apparently moving and important but presented in the most disengaging way possible. Filled with too many life lessons and no suspense curve, the deadpan anecdotes cannot fully realise their potential.
The cast is a mixed bag ranging from gravure model Hina Kikuchi (“Invisible Us” 2024) to independent filmmaker Hirobumi Watanabe (“Techno Brothers” 2023). Unfortunately, the prominent ensemble does not rescue the movie. It is nice to see some familiar faces, though. On the positive side, the soundtrack is very catchy and the surreal set pieces are done with a lot of blood, sweat, and tears. This contributes to the lo-fi aesthetics fitting the blend of magical realism and dry sense of humor.
The niche genre of puppetry might be something unique to watch but does not appeal to a mainstream audience. Although the symbolic function of the Aliens as vessels of hope and the reveal of a society shaped by unnecessary demands is laudable, “We Are Aliens” is missing the narrative depth including some surprising twists or turns. However, one can say that Kenichi Ugana stays true to his concept of filmmaking and follows a determined set of rules when it comes to directing. Just like his colleague Hirobumi Watanabe, Ugana manages to stand out with his very own signature that certainly has devotees in the field of Japanese genre cinema, who get a kick out of it.
