At the U.S. premiere of GROTESQQQUE held at New York's Japan Society, director Atsushi Nishigori informed the audience that the film's three segments would not easily connect, describing the work as a collection of personal interests ranging from cute characters to monsters and mecha. He compared the experience to a three-course meal, promising viewers would feel 'full' upon completion. The screening followed this structure, moving from high-energy action to a more reflective conclusion.

The first segment, titled "A(E)liens," centers on an octopus-like alien who assumes human form as a girl. Struggling to gain acceptance, she navigates Earth's distrust of extraterrestrials while attempting to form friendships. The segment features vibrant animation, creative creature designs, and body-horror transformations that blend humor with unease. Its commentary on social exclusion provides a loose narrative thread, though the thematic exploration remains surface-level. The visual style, characterized by hyper-saturated colors and dynamic action sequences, allows for imaginative sequences involving alien abilities and interactions.

"Yoroshiku Girl," directed by Takahiro Miura, shifts focus to a virtual reality battle game populated exclusively by female characters. The story involves a missing idol whose fate becomes entangled with the game's mechanics. While the animation maintains high production values and the combat sequences display technical precision, the narrative fails to develop emotional stakes until late in the segment. The relentless pace and stylized violence create a sensory experience that prioritizes spectacle over character development, leaving the plot's significance unclear until its final moments.

The concluding segment, "Nocturne: Nuit Grotesque," presents a stark contrast in tone and pacing. Set in a world where surface-dwelling humans have become extinct due to environmental collapse, it follows four vampire girls who possess the ability to perceive residual traces of death invisible to humans. Unlike traditional vampire narratives, this story treats immortality as a burden rather than a gift, exploring how eternal existence can amplify existential pain. The segment employs classical music instead of the pop soundtrack used in earlier parts, and its visual design adopts a more subdued aesthetic. Themes of mortality and isolation emerge through quiet, contemplative scenes that diverge from the anthology's earlier frenetic energy.

Nishigori described the project as an expression of personal passions, though the connection between segments remains intentionally fragmented. The film's inconsistent tone and structure reflect the nature of anthology filmmaking, where varying creative approaches can lead to uneven results. While "A(E)liens" and "Nocturne" demonstrate distinct strengths in storytelling and visual execution, "Yoroshiku Girl" functions more as a stylistic showcase than a cohesive narrative. The work contains moments of technical brilliance across all segments, particularly in animation quality and sound design, though its thematic depth varies significantly between parts.

The screening concluded with credits that juxtaposed character designs from "Nocturne" with the playful style of "A(E)liens," highlighting the stylistic contrasts within the project. Critics noted that while the film offers rewarding experiences for viewers familiar with Nishigori's previous work, its fragmented structure may challenge those seeking narrative unity. The film receives a B+ rating overall, with individual segment evaluations ranging from B for story to A for animation and music, reflecting its technical achievements despite narrative inconsistencies.