Zombies are domesticated as house pets and servants in Sabu’s self-consciously grungy homage to classic silent horror-thrillers.
BLESS THE ANON WHO SENT ME THIS LINK
And here, have a relevant Ayaka-centric quote:
Komatsu, who’s made her name as a “gravure idol” (a particular type of pin-up girl in Japan), suggests a smoldering sexuality beneath her physically grotesque appearance, and some of her scenes with Teramoto cheekily channel certain genres of Japanese erotica. Daisuke Soma’s roving camera seldom frames Shara’s face in full view; instead, it zeroes in on her maimed body parts, embodying the male characters’ objectifying gaze. Komatsu interprets the character’s transformation — from a stiff, marionette-like figure to someone driven by love and altruism — with a sullen intensity made even more effective by her lack of dialogue.