Akihabara massacre I will kill the people in Akihabara. I want to crash the car, and if it's useless, I'll use a knife. Goodbye, everyone. The time has come, the 25-year-old killer Tomohiro Kato himself posted on the Internet his last messages to himself and the world he was about to destroy. Was it a cry for help - belated and unnecessary? Or was it too late to help him in the massacre in downtown Tokyo, and it didn’t matter, for these four simple but ruthless proposals were his manifesto and call for action that immediately followed? Caught up, tied tightly to his own microworld of computer games and comics, Kato somehow, but once again confirmed the deep destructive processes taking place in Japanese postwar society. Processes that echo loudly in other countries, but in Japan have their own distinct root features.
This sad tragedy formed the basis of the plot of the final film of the series “All night long”, the film “All night long 6: Anyone would do” in 2009, released 6 years after the release of the fifth and the weakest and insignificant part of the cycle, and returning the history of the entire franchise to its roots, to the origins, to the root causes, to the sinister in its relevance of the problem, which was more than extensively and fully revealed in the four previous films, namely, the relationship of young people with the surrounding world and their merciless and senseless, who stands in their place, or is the one who stands in their way. Filmed with the direct creative participation of two other prominent representatives of the independent Japanese horror Daizuke Yamanouchi, the author of the parable dilogy “Red Room”, and Takashi Shimizu, whose directorial pen belongs to one of the main Kaidans of our time “The Curse”, the film “All Night Away 6: Anyone Would Do” is the sum of everything that Matsumura-san went for 17 years, starting with the first tape “All Night Away”. The worldview of the director made a full circle and closed to the stories of an embittered young man (no longer a stereotypical goggle-bore, but just a dystrophy-masturbator), who decided to test the nerves of two sisters, whose house he invaded without invitation. Genrely wandering between a home invasion film, a psychopathological drama of sexual incompatibility and a sophisticated sadistic horror and successfully boarding a meat-laden train of an average Japanese post-millennium spill shocker, "All Night Long 6: Anybody Would" tries to make sense of what drove the real Tomohiro Kato, painted in the picture under a different name, of course, to commit a massacre in a residential neighborhood.
Through the prism of the speculative plot intrigue of the film broken in a mosaic style, Matsumura comes to an unambiguous and unappelling conclusion that it is not the media space that is to blame for Kato’s madness, not the popular art that is intended only to entertain and only, but the people around him who treated him as garbage, as a subhuman, thus generating in him the seeds of a future all-destructive rebellion. He was so badly harassed, tormented and broken that anyone would do the same. From despair, from hatred, from helplessness, from madness, after all, which could no longer be stopped and cured. For the director, there is no doubt that any other person would have done something different, would have forgiven his offenders, for the red line was long ago and successfully crossed, and the Rubicon was left far beyond the crimson horizon. Only here the victims of the real Kato, and the fictional antagonist in the sixth part of “All night long” were completely innocent and accidental. They just fell under the hot hand of a homegrown avenger, who should not be excused, but Matsumura is prone to counter-contradictory conclusions in the finale, deducing the idea that pain must be avenged, paid for with blood even if for this you have to dehumanize, cease to be a carrier of humanity, becoming a carrier of universal Evil.
The hero of the final and, perhaps, the most realistic in his expressiveness of naturalism, the minor in tone and metaphorical in cinematic language chord “All night long” does not cause any sympathy, as well as antipathies, but his victims are also far from angels. “All Night 6: Anyone Would” in this case shows victims by circumstances and a maniac for forced reasons, not giving the opportunity to sympathize or empathize with either the first or the second. This film is a bloody drama about a man who, instead of seeking salvation in Buddhist temples, hoping for change for the better and rebirth, went down the simplest and cruelest path. The path of violence that dragged him so long that the end of his existence was already quite natural. But even his sacrifices do not pull on the sheep to be slaughtered, since they themselves were internally ready for everything and for everything, they actually spent themselves on the expense that anyone would do anything to them and no one would condemn him for it. You deserve it.