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Apr 5, 2024
"Omae Umasou da na" has on my hard drive for at least 3 years, having seen Americans rave about it on twitter. I didn't really know what to expect, but given the background of the Ajia-Do studio and director Masaya Fujimori, I recognized quality Japanese children's productions such as the in-tuable Doraemon and Crayon-Shin Chan, or more personally Kaiketsu Zorori, one of my biggest madeleine de proust, Well, not only was I right, it's an excellent children's film in every respect, and even a small masterpiece of Japanese animation whose total absence from Western distribution is a crime. Well, I'm exaggerating a little, given that
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the Americans had the luxury of a big bluray containing the film, the anime series released earlier and one of the two Korean films, but in Europe we have nothing, and even in legal distribution we have nothing, what a pity.
"Omae Umasou da na" adapts the children's book of the same name written by Tatsuya Miyanishi, telling the story of a Tyrannosaurus named Heart who lives in solitude thanks to his physical strength, which enables him to use kicks and wrestling holds, One day, he's about to devour a baby Ankylosaurus, who unluckily (and luckily for the baby) believes that "Umasou/Délicieux" is his name, and takes Heart directly for his mother. The rest of the film sees the big one gradually grow fond of the little one in a savage, merciless world.
That's the basic premise, something simple, cute and funny, except that it's really only the second act, The first act sees Heart's egg find its way into a community of Maiasauria (i.e. herbivores) and grow up alongside his brother Light as a herbivorous Tyrannosaurus, until the time comes for him to leave the forest where the community lives and realize the immensity of the world he's living in. the immensity of the world in which he lives, his brutality and, above all, the fact that if he's lived this long as a "grass-eating Tyrannosaurus", his much meaner relatives will quickly bring him back to reality, even if it means hurting his brother, This intro launches the whole theme of the film: the impossibility of denying one's identity even with an opposite upbringing, belonging to a group of which one is biologically not a part, surpassing oneself to overcome one's weaknesses in a hostile world, the relationship between a son and his parents whether adoptive or biological, strong and rich themes treated with maturity, the film is funny, the relationship that develops between Heart and Umasou is an amusing premise and offers scenes that are first comic and then touching, but what I appreciate is the film's seriousness: when Heart is forced to eat part of one of his fellow Tyrannosaurus, who discovers that he loves meat, and attacks his brother, it's shown with gravity, and you're afraid at first that he'll really eat him; when Baku (whose paternity with Heart is hinted at in the film) appears and is feared by all, whether carnivore or herbivore; he's bigger than any of the dinosaurs in the film, and is always accompanied by menacing music, so when Heart confronts him at the end of the film, you have good reason to be afraid for him, Although the film is adapted from a work for the very young, and is aimed at the very young, it speaks to them and shows them events as if they were future adults. The slapstick and laughter are separated from moments of gravity and tension, and when it's as well done as in this film, I can only applaud.
Masaya Fujimori has a substantial CV, having worked as a key animator or animation director on the aforementioned franchises, so his mastery of animation is evident in his direction. He opts for a different chara design from the books, but just as simple and cute; the characters have no detail, are all round and simple, with bright colors that make them expressive and interesting to see animated, and in the case of the babies, even more so: take the whole frame in front of a tiny dinosaur (and if we can do the same thing but with a bigger dino and Heart that becomes tiny, let's do it) play with perspective by imitating a "Fisheye", counter-plunge from the legs gives a constant sense of how fragile Umasou is in this world, and he also plays with colors to propose a raw change of tone, such as the sky turning blood-red for a single scene when Heart menacingly hunts Triceratops (I also appreciate that Heart is never shown as a villain or a monster once he's become a carnivore, it's his dinosaur nature, it's neither good nor bad, it's nature), while wondering at what point Umasou will realize that he's not his father, and very far from the innocent image he has of him, or in the magnificent (and perhaps my favorite) sequence with Pero Pero the Elasmosaurus, where the colors used and even the scenery, coupled with the wonderful piano and violin music, make for a dreamlike, sparkling sequence outside the film. Scenistically, Pero Pero doesn't serve much purpose, but he's there for the pleasure of a magnificent sequence, and there's something beautiful about it.
I mentioned it in the summary, but Heart fights in an unconventional way. If you've already read Gon (and if you haven't, do so), we're into this kind of delirium, and when he's defending Umasou or hunting, the film deploys action scenes that evoke a certain kind of martial arts cinema I'm fond of, The final fight reminds me of the first confrontation between Baki and Yujiro in the childhood saga, when he gives his all but his opponent barely moves, and it's graphically violent. You'd think with the cute chara design, but there's blood, severed tails, more or less serious wounds, characters can fall into comas and have physical repercussions, and it's a very good touch where others would have fallen for lack of guts into slapstick or total lack of physical injury.
I'd only seen Fujimori's first film, Fairy Tail, and as entertaining as it was, it has to be admitted that the source material doesn't fully show Fujimori's worth, Quite the opposite here, with a base aimed at a younger audience (and which doesn't have Fairy Tail's shortcomings in terms of repetitive storytelling or characters who will always win even when faced with stronger opponents thanks to their friends) it delivers a film that's more mature and therefore more striking than the big shonen where there's fighting all the time.
"Omae Umasou da na" is a little-known gems, Masaya Fujimori film is mature beautiful, thematically varied, violent when it needs to be, funny when it needs to be, dreamlike for the pleasure of a beautiful sequence, a film that rewards me as a fan of Japanese animation and makes me say with a great deal of malice that if you think animation is for children and that it's of no interest because of what you see with your child or what you saw as a child, then maybe you and your offspring have seen nothing but crap ?
Reviewer’s Rating: 10
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Jul 20, 2023
Kamen Rider has a cult following, and its author Shotaro Ishinomori has done a lot for Tokusatsu, making his authorial fixations (armored heroes, futuristic technology, monsters, SF and cyborgs) quickly become genre codes, but even the biggest fans of the license mistakenly forget that this manga was the Rider's first foray into Japanese fiction, and that's a shame, because well, it's a great manga!
The Kamen Rider manga lays the foundations for the character: a man turned cyborg with the grasshopper as his motif, facing off against an evil organization (Shocker) and its cyborgs with links to animals, having to protect a character who is often
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female and linked to his creator, and questioning his humanity, which is now more that of a super-powered monster (reinforced by stylized scars on his body) than that of a fragile human.
The manga unfolds in two parts, the first in the first volume being pure Kamen Rider, with the introduction of the metamorphosed character (Takeshi Hongo) and his questioning of what little humanity he has left, since he's now a cyborg who can kill very (too) easily, various confrontations with Shocker's henchmen with their varied animal abilities (spider, cobra, bat, etc.), all tinged with iconic special attacks and topical themes in '71, such as ecology and the purity of the air caused by factories. It should be noted, and this applies to the entire manga, that while most Kamen Rider series are accessible from a very young age, with fights that are certainly choreographed and dynamic but light on violence, this manga is very bloody, with the Rider not hesitating to dismember his opponents or impale them, Despite this butchery, the character and even the author like to remind us that his monsters were basically human and therefore victims of modification, notably in the arc on the Cobra Man and his wife Medusa, an arc that begins to show that Shocker's monsters still have some humanity in them, the chapter ending tragically, Medusa accidentally kills her man in the hysteria of battle and can't live with his blood on her hands, preferring to end her life and join her man, followed by a scene in which the Rider gazes with great sadness at the corpses of his opponents, whose humanity has returned in the last moments of their lives, giving the work the advantage of not being Manichean.
The second part of the second volume is innovative: during the 13 Riders arc, in which the Rider confronts 12 of his clones, Takeshi Hongo is seriously injured during the confrontation and is temporarily replaced by one of the clones freed from Shocker's grip during the battle (Hayato Ichimonji), who takes on the role of Kamen Rider to continue the work of Shocker's traitor, A new, less tragic and brighter protagonist, as well as more investigation-oriented chapters tinged with Japanese mythology, Ishinomori also introduces in this second part that toys exist in the work's diegesis, as he begins his final arc (Masked World) with children wearing Kamen Rider and Spider-Man masks, far removed from the horror of murderous confrontation or the loss of one's humanity, and closer to the childlike innocence of seeing a classy good guy against a disgusting bad guy, It's also in this second part that we learn more about Shocker, and the manga doesn't hesitate to bring its reader back to reality: the manga's big bad reveals to the Rider that his plan to control the masses was in fact an idea of the Japanese government, and that Shocker has only taken this plan and made it better, showing the Rider that he's facing a dangerous enemy, but one that has distanced him from the real enemy since the beginning of the manga, if today this kind of "the enemy is the government that manipulates us" message has been overused and misused in a lot of fiction (and incidentally made laughable by boomers on facebook with 240p meme's) in 1971, in Japan, in a superhero manga that at the time of its end of publication was a TV series, the program that all children talk about, well, you had to dare, and he ends his manga with a cold pessimism and the final sentence
"We human have used science, "the weapon of civilisation", to fight the wrong ennemy"
Graphically, Shotaro Ishinomori makes no secret of the fact that he was influenced by Osamu Tezuka, whose assistant and close friend he was, and the manga has this pudgy chara design, with prickly silky hair and highly expressive characters that are more like the cartoon Tezuka is so fond of, and that screams 60s-70s when you see it. This is an era of the manga that I love artistically, but where Ishinomori is impressive is in the action scenes, His cutting is perfectly legible, using gigantic squares that we always (and wrongly) associate with Toriyama, and he doesn't hesitate to show moments of a fight like a fall from the sky in 4-5 pages to make us feel the intensity of the fall, He takes great care with computers, mechanisms, motorcycles, etc. It's clear that the author has mastered this field, and takes pleasure in creating "mecha-porn" during his motorcycle scenes, or during the final arc in a supercomputer.
Kamen Rider is an excellent manga classic whose influence and impact on Japanese culture is unquestionable
Reviewer’s Rating: 9
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May 24, 2022
Redline, just Redline, when I discovered the film more than 4 years ago I was still quite a novice in manga and Japanese animation, so to follow in the same afternoon Redline and in the same style Dead Leaves ah it's a shock, and the shock is still present 4 years later.
Directed by Takeshi Koike that I know mostly for his Lupin III trilogy: The Tomb of Daisuke Jigen, The Blood Mist of Goemon Ishikawa and The Lie of Fujiko Mine (but we'll come back to that) it's a project that Koike had a hard time making, having taken 7 years of preparation and more
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than 100,000 drawings by hand (in comparison Akira was 160,000) and I congratulate the man's iron will because he gave birth to a delirium, a real delirium, the one made with generosity madness and communicative amusement.
The story is ultra-simple and assumes to be minimalist because it can be summarized simply: In a SF universe, we follow racing drivers in particular JP and Sonoshee, his pilots will have to compete in a race having turn the 5 years Redline.
Simple scenario yes but Koike fills this simplicity by the characters and the universe, person of a rare class, everyone has a look of hell that it is charismatic / crazy / sexy / muscular / 4 arms / metal head, everyone is iconized and recognizable for lack of having a development and a background hyper developed really congratulations to Koike and Katsuhito Ishii for this range of mouth, It makes the universe very fascinating even though it is only shown, as I said above the spotlight is mainly put on JP and Sonoshee, they have the most screen time and especially develop a romance that has the intelligence to be in the background and subtle but that does not prevent us from believing in this couple without it seeming forced, in addition there is a good humor sometimes cartoonish, sometimes naughty in short we have a good time throughout the film.
Technically it's obviously where the film shines and where Koike shows his style, in my intro I said I knew him mostly for his work on Lupin III, but seeing Redline again I recognize his style and his gimmick that he instilled in his trilogy or as a chara-designer on A woman named Fujiko Mine: Very lively animation and never fixed, stylized shadow, male character with a long face, deluge of violence sometimes bloody and always full of idea, pulpy and well sexed woman (even if it is a common point with Lupin of base), Moreover the chance makes well the thing because at the time of the presentation of the hunters of bounty Lynchman and Johnny Boya, it makes us a reference to the famous plan of the first opening Lupin with the competitor who runs in front of a brick wall illuminated by a source of round light and escaping has blow of fires.
The sets are full of life, there is always a character moving or doing an action in the background, the shadows in full black give a nice aesthetic that would not have had less pronounced shadows, the camera is very free and that's just the middle of the movie when we lay the foundations and the characters, because the races as well as the intro and the end, but it's the festival.
Imagine F-Zero GX for the speed, Jak X for the violence of the weapons used and Split/Second for the random events that modify the circuit and make boom in all the directions, it is this level of madness, the intro initiates us "nicely" has the speed of madness of the vehicles all with a design not possible of class and rich in arsenal, but when arrives the Redline the real one you have to hang on.
Where do I start? The fact that during the whole race the competitors are attacked by Roboworld soldiers? The Superboins twins who switch to the typical Go Nagai mecha mode to kill some of them? JP who mismanages his boost to the point of doing a barrel roll at 1000kmh which takes him out of the track because it turned him into a flaming top that ricochets on the water (I told you the movie was funny) and this is the first minutes of the race, it lasts 35 minutes, I'll gladly keep you in the dark about all the crazy ideas it has in store for you, but I'll warn you just for the climax, if the movie works on you, you'll at least break the ropes cheering for the finalists on the home stretch, and I'd rather not imagine anyone invested to the max.
Ah and not to help the desire to jump and hit his desk of adrenaline during the viewing we have the soundtrack of James Shimoji well rock as it should and in the tone of the film, listen to me anyway, and whether in VO or VF the cast is possessed by their roles assigned contributing to the pace without dead time and the atmosphere monkey of the film.
Redline is to be experienced more than expressed, it's the animated porn of Formula 1 and Mario Kart fans, 10 years later it's still very impressive.
Lean on it, enjoy it as it wants you to enjoy it, and be interested in Takeshi Koike's recent work as well, he has been successful since this movie.
Reviewer’s Rating: 10
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May 24, 2022
Macross DYRL (it will go faster) directed by Shoji Kawamori (also mecha designer) and Noboru Ishiguro is a particular case in the vast genre that is the mecha and in this case the real robot, since where a Gundam to quote its competitor of the time bet on strong politics
Macross relies on a romance under the background of an alien-mecha war that ravaged the earth, forcing humans to live in a giant fortress in space and idol songs although the politics of the universe is still present.
This romance between the mecha pilot Hikaru and the idol Lynn during the first part of the movie and
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I find extremely touching, their meeting by chance in the middle of a fight is not the most original but it's the treatment that touched me, the movie takes its time to develop their relationship, we see them talking to each other, embracing each other, spending time together in the city of the fortress accompanied by the superb composition of Kentarō Haneda it's just beautiful, and when it will develop into a love triangle with the officer Misa, it is not forced because again the film takes its time, they are alone on earth only between them, their sequence is as long as with Lynn so we do not have this impression of forced triangle to add you false drama, Hikaru hesitates and when his choice is made we understand him, and it's done without any hassle, the characters talk to each other (and then people dare to say that the mecha is just boom boom without any characters except for the code geass).
Since I'm talking about Boom Boom, the animation and even the realization in general is absolutely great, the same year as Miyazaki's Nausicaa and Tezuka's Bagi, the film has like his 2 films not taken a wrinkle and I would even dare to say that if it came out today we would see nothing but fire, the mecha design is ultra detailed and realistic (normal it's real robot), The action scenes move all the time and are of an irreproachable legibility, we feel that they are heavy and powerful machines, although there are space scenes the film manages to impose us a gigantism has several scales when the Zentradi arrives in the colony we see them trampled the cars as if it was simple toy, When Hikaru and Misa are on earth we see the SDF-1 Macross from the sky and despite its distance it takes the whole length of the frame, the scenery is full of details (special mention to the bar named Pierro the madman), the characters have a good 80's chara-design with their bushy hair typed Go Nagai-Shotaro Ishinomori and the chara-acting (animation term for the design of the acting in an animation) is also very lively and moves well, It's also incredibly gory and raw in its violence as well when the aliens are killed as when the civilians eat in their face the collateral damage, after having seen a Godzilla vs Kong empty in gigantism and human view this film is good.
The scenario as for him let follow and is fluid, we follow in the end very little what happens in the war itself, we just know that the aliens are separated between male (zentradi) and female (mantradi) and that they made flee the humans in space as I said to focus on the romance, but the film ends on a climax absolutely splendid under a song of the seiyuu Mari Iijima which accompanies a sequence of space battle with one of the most beautiful Itano Circus (https://www. sakugabooru.com/post/show/26295) that I could see in a movie ex-aequo with the itano circus of the movie Cowboy Bebop.
As for the Macross series, this movie had its westernized version Robotech Le Film, which could be similar to a club dorothée version of the movie, there are many useless jokes, the names are changed, the dialogue is modified to completely contradict the VO, so the VO is necessary for this movie which is for me a success on all the line.
Reviewer’s Rating: 10
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May 24, 2022
"Attention, this review is composed exclusively of love and passion, we advise the bitter cynic and breakers of atmosphere of any sex and origin to leave the place while it is still time."
We are facing a complicated case because I have to say that The Wolf Children is a great movie in many aspects and categories but especially in what it has traumatized me so much that it ended up in number 1 of my top 10 movies; and that after about twenty viewings having engraved the movie in my DNA I still find myself crying at the end as if I had discovered it,
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taking into account that I am Autistic Asperger and therefore that my reactions and emotions are constantly amplified and "different from the norm" to say official terms, yeah it's not going to be easy but I'm giving myself the challenge because if you can review your number 1 movie you can review everything it's mathematical.
Les enfants loups Ame et Yuki is the 3rd original film of Mamoru Hosoda without taking into account his commissioned films for the Toei, a director that I appreciate enormously because beyond finding myself in his themes I love his style and his aesthetics, When you see a film of Hosoda you do it without being told because even in his short film and film Digimon Adventure and his film One Piece he incorporates his artistic style not very detailed but conducive to living mobile animation and incorporated his fixette especially on the relationship of all kinds, Internet and anthropomorphism, and to put his touch in films as calibrated as One Piece at least to totally change the artistic direction is already the proof that Hosoda is a real author someone who appropriates all his projects to shape them to his image, After 2 successes that put him on the front of the stage to the point of having the famous nickname "new miyazaki" (which I always found stupid because their style is different in every way) this one puts aside the great story of time travel and internet war completely remade from Digimon: Our War Game and here he is on a more modest story: A mother and her therianthrope children.
The story of Hana falling in love with a wolf man, giving birth to two children, becoming a widow and moving back to the countryside to lead her life as an unusual mother in the best possible conditions is the most touching, poetic, beautiful and gripping thing I've ever seen as a moviegoer: Hana is a great character of a mother, she is devoted to her children and takes care of them with great care despite the many difficulties, she is so resourceful that she has completely renovated an old house in ruins and she is incredibly courageous, she never gives up, she is a model of a mother character, or better, she is THE mother.
The wolf man succeeds for the little screen time granted to us: it is a simple and motivated man, shown by its various small physical work and by the tragic destiny of which it will be victim it will leave hovered has its death an aura on the family, No mourning, no, Hana will do it early in the story, but as "the one who watches from the sky" when Hana sees him again in his coma in this luminous flower field, a kind of spiritual meeting point for the couple, he knows everything that has happened since his death and how good a mother Hana is, just as he knows that Ame is doing well at this precise moment in the story.
Ame and Yuki are also wonderful characters, I really appreciate that the movie with them shows us almost all the stages of a family life: birth, education, first word and step, moving, first worry and questioning, school, first love, adolescence, emancipation and "farewell", I know these characters by heart because the film shows me "all their life" until a certain stage, I know these characters by heart because the film shows me "all their lives" up to a certain point, and if I find that the children's characters are relatively complicated to put in the picture because they can quickly be annoying here I only have love for them because again the film draws up a portrait of the family and inevitably there are caprices of the disputes it is natural it would have been smoother and less authentic to zap its less glorious moments.
And I could talk like that about the whole gallery of characters so everyone sounds right and natural, from the many peasants who help Hana with her vegetable garden to Sohei, Yuki's classmate, but I'm going to say above all that we have a Clint Eastwood modelled on him physically and mentally, a grumpy but honest and altruistic old man underneath his shell, and that's worth all the gold in the Japanese Clint Eastwood.
The direction of Hosoda is of a great mastery as it has never been, his shots are laid millimetre and take their time, whether it is while Yuki tells us the origins of his father starting on a starry sky and ending with a beautiful sunrise, just to show the city and its atmosphere there is this naturalist side while we are in animation, for this tracking shot among the most beautiful of the cinema making us spend several years of school, or simply to show us the beauty and the greatness of the nature magnified by the animation, even the sex scene between Hana and the wolf man in fixed shot neither too prude nor too sexy just beautiful naked of the soft light of the moon, and the wolf man keeping his animal form during the act to represent even in his most intimate and natural moment the extraordinary of the couple, just brilliant, Hosoda embellishes his film with small details that we notice only after several viewings as the fact that the move to the countryside is pre-announced with a frame of Hana as a child and what I suppose to be her father in a field, field very similar to the one she will use with her toddlers later in the film, it offers us sequences of pure cinema such as the race in the snow or the ride with Ame and her master in the forest, these two sequences having for similarity to make us fully live what it is to be a wolf via the shot in subjective view where we see the speed at which they run and how much they are at ease
And if I speak about realization in an animated film, I have to speak about animation and this one is splendid, the sets are incredible of details of size and splendor, we wonder sometimes if it is not a real image shot slipped in the editing and the animation of the characters is typical of Hosoda, it's not very detailed and simple in the line but it's alive the "character acting" is constantly in movement never static, which is an advantage in the numerous long shots where the characters lose in detail because they are smaller but their body play makes pass all the emotion (and here I think directly to the death of the father when I say that)
The music of Takagi Masakatsu is great art, one of the most beautiful original composition of the cinema, whether it is to start the film, accompany the moment of life of the couple, amplified the joy and fun of the sequence of the snow, separated Ame and Hana or closed the film with the splendid voice of Ann Sally, the soundtrack sublimates the film, the notes of piano allied to the sweet voice of the song transmit as much emotion as the image.
So there you have it, The Wolf Children is a great movie, it's a love letter to the mother, to the nature and to the country life, it's a remarkable realization, a great music and a whirlwind of emotions, that was easy to say, now why is it my champion, my top 1?
I saw this movie when I was 13 years old, at that time I was still a novice in the world of manga and Japanese animation, and when I saw this movie it was a real shock, as I said I have Autism Spectrum Disorder so when you love something you have to imagine that you will automatically love it more than the biggest "normal" fan on this planet.
During 90 minutes I was attached to its characters as never I was attached to its characters I was happy when Hana got out of the shit after the death of the man, I was attentive and impatient for the fate of Ame and Yuki, both of them constantly hesitating between their wolf and human forms before one fully embraces the wolf and the other fully embraces the human, both of them being respectively shy and eccentric as children and then more sociable and wiser as pre-teens, I was marked by Ame's worries about her origins in the "why are all wolves so mean? "And like them, I have lived as a single parent all my life, which caused a lot of echoes in my life during the viewing.
Then comes the last 30 minutes when the rain beats its strength blocking Yuki in the school with Sohei and forcing Hana as a devoted mother against all odds to find Ame in the forest because even if he's in his element she can't help it, the love for her children prevails over everything, that's where the film has definitely traumatized me:
- Yuki who tells Sohei that she is a she-wolf in a magnificent shot where the transformation and de-transformation is shown in silhouette behind a curtain blown by the storm
- Hana collapsing from exhaustion and worrying even more for her children and her life before seeing her husband in the flower field
- Ame who saves her mother and leaves without saying anything, leaving her in tears, before showing her last and most beautiful scream as the sun rises sublimated by the original composition
- And comes the epilogue, Hana is alone at home, Yuki is at the boarding school, her children are gone by themselves, the house is empty, and while she pays tribute to her husband she hears her son's howling from the forest, credits and Okaasan no Uta closes the movie.
40 minutes, that's how long I cried and had a lump in my throat in front of this final, I'm not exaggerating.
The radical choice of Ame to fully embrace the wolf, Hana who finally lives her best life after so many ordeals or just the fact of leaving her characters that I love so much destroyed me and destroys me every time I watch it, I'm at about twenty viewings and this final puts me in emotions every time and it's in these moments that I'm proud to love Japanese animation, I love it in all its forms but I never love it as much as when it makes me vibrate to this point that when it makes me pass such powerful and striking emotions, at 22 years old I am used to have shocking experiences in art, but at 13 years old it was a punch in the jaw and I believe that this punch of Hosoda activated the cinephilia in me, I know what my life would look like without this film it would surely be less glorious.
I love the wolf children Ame and Yuki, I love Mamoru Hosoda, I love Japan and its cinema, long live cinema.
Reviewer’s Rating: 10
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