Is poised to become the most successful non-Ghibli anime film ever released in cinemas. It’s fabulous news for the industry, and a leap up for Shinkai, whose past films were feted by fans but were commercially marginal at the box office. If Shinkai’s feat isn’t quite on the scale of Steven Spielberg in the 1970s, rising from
Starts with a thunderbolt; a fireball plunges down through the stratosphere towards Earth, webbing itself in cloud, like a Miyazaki image reinterpreted by a prophet of fire and brimstone. Shinkai’s favourite animated film, at least as of 2010, is Miyazaki’s
Takes viewers on a journey which becomes grandiose and wondrous at the end. But it starts as a cheery, populist comedy. In Shinkai’s film, two Japanese teenagers – a boy from Tokyo, and a girl from a remote country town – start to magically swap bodies. The boy wakes up “as” the girl, in the girl’s body and home, and vice versa. Each character must cope with a life and gender that’s completely new to them. We don’t recall any Ghibli film where the “heroine” investigates her breasts, or where the “hero” lowers a hand fearfully towards his crotch.
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(a mum swaps with her daughter), or in umpteen oddball TV episodes. Perhaps the most infamous is “Turnabout Intruder, ” the terrible final episode of the 1960s
Though, uses the body-swap premise to play around in other genres, such as the fish out of water comedy. Shinkai’s film plays up the country girl’s awed reactions to suddenly being in Tokyo (Crowds! Cafes!) There are rom-com elements too, as the girl learns about the boy’s secret crush – a chic female
The film is rushed along itself by a montage of the characters’ shared lives, set to the runaway pop number “Zen Zen Zense” by the group RADWIMPS. In previous films (
Your Name By Shinkai Makoto With Introductory Talk By Dr Rayna Denison
Which feel shockingly Hollywood, more than any other anime film in memory. But elsewhere in the film, Shinkai’s auteur presence is evident. In the pre-titles prologue, two voices, male and female, express their yearnings for something forgotten, their indefinable feelings set against images of Tokyo’s infrastructure, its buildings and trains. (Tokyo trains are as ubiquitous in Shinkai’s work as telegraph poles are in Hideaki Anno’s.)
Like the opening titles of a TV anime series, down to the intercutting and juxtaposing of the two main characters, and blink-and-miss clues to the story we’re going to see. We sometimes get TV-style titles in spinoffs
Films – but it’s a shock to see one in an “original” anime movie. Whereas Ghibli endeavours to dissociate itself with TV anime, and position itself as part of a global circle of animation
Your Name: New Life For Japanese Animation
Is a metaphor for its crossover potential. Like its characters, the film goes out dressed to appeal to very different audiences; the couple who feels like a date movie on Friday night; the retiree who thinks the county scenery in the adverts looked a bit like
’s achievements is that it’s amenable to geeky analysis while being clear to everyone. Even if you get lost in the middle, the film’s last act makes it crystal clear what’s at stake, what must be done, and why we should care.
For Shinkai’s fans, there’s the extra fun of tracking his motifs – most obviously his obsession with the exquisite pain of unreachable desires, the conflation of physical distances with pin-sharp memories and misty longings. But you can equally enjoy
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As a pointed comedy of town and country. The film’s action swaps between the boy’s bustling Tokyo and the girl’s backwater village in the mountains. As well as modulating the drama, this lets different local audiences each see their Japan on screen. The film is lent a real-life dimension by the girl’s determination to leave for Tokyo once she’s old enough – the attitude that leaves many real Japanese country towns without futures.
Says “about” Japan. The story also contains an echo of recent Japanese history which is potentially controversial. We can’t say much without spoilers, but it’s the kind of thing that would get critical flak if the film wasn’t
’s running boob gag; the boy character fondles “his” breasts each time he’s in the girl’s body. While these are brief moments, some viewers may find them unpleasant and objectionable, a reminder of anime’s prurient reputation in the West. Then again, a completely wholesome film about male/female body-swaps might be accused of prissiness. You could take the breast-touching as a shorthand for all the obvious scenes which are
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. We glimpse the boy playing sports in the girl’s body, for instance, but we’re spared the locker room or a trip to the hot spring.
S body-swapping, it’s presented as the story of a boy in a girl’s body and a girl in a boy’s one. There’s no hint of transsexuality, no ambiguous identities, though the characters get better at performing their new genders over time. Whether
S luscious visuals, its celestially beautiful portrait of modern Japan in traditional animation. That gives the film a chance to be nominated in next year’s Oscars, though it’ll be a battle. Even if there are five animated feature nominees in 2017, three candidates already look like shoo-ins; Disney’sKimi no Na wa. (君の名は。 , Your name.) is a 2016 Japanese anime romantic fantasy drama film directed, written, and edited by Makoto Shinkai, based on his own novel of the same name.
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Your Name was animated by CoMix Wave Films and distributed by Toho . The film premiered at the Anime Expo 2016 convention in Los Angeles, California on July 3, 2016, and premiered in Japan on August 26, 2016.
The film has received critical acclaim, being praised for its animation and emotional impact, and was also a commercial success, becoming the fourth highest-grossing film of all time in Japan and the highest-grossing anime film worldwide, with, as of January 15, 2017, a gross of over $330 million USD (United States Dollars).
A comet appears and mysteriously affects and connects the lives of two teenagers of the same age, a boy in the big, bustling city of Tokyo and a girl in a country village where life is slow but idyllic. They find for unknown reasons, they wake up in each other’s bodies for weeks at a time. At first, they both think these experiences are just vivid dreams, but when the reality of their situations sinks in, they learn to adjust and even enjoy it. Soon they start to communicate and try to leave notes about who they are and what they are doing. But as they discover more about each other and the other’s life, they uncover some disturbing hints that their distance is more than just physical and tragedy haunts them.
Kimi No Na Wa Your Name Japanese Anime Movie Matte Finish Poster P 12869 Paper Print
In the opening, a comet fragment is seen falling through the layers of clouds in the sky. It appears to fall on the town below it but that is left ambiguous as it cuts to the two main characters, Taki and Mitsuha, talking about how they feel as if they are missing something (Yume Tōrō), and that the feeling had lingered since the day that The stars came falling… It was nothing more, nothing less than a beautiful view.
Mitsuha Miyamizu, a high school girl living in the fictional town of Itomori in Gifu Prefecture’s mountainous Hida region, is told by multiple of the people around her that she acted strangely the previous day, while noting that she is normal today. That night, she performs a ritual for her grandmother which is scorned by her classmates. Frustrated at her boring and close-knit life, she screams out on the shrine steps that I hate this place! I hate this life! Please make me a handsome Tokyo boy in my next life! much to her sister, Yotsuha’s dismay.
The next day, she wakes up in an unfamiliar place, realizing that she is in the body of a boy called Taki Tachibana. Leaving the house, she realizes that she has ended up in Tokyo, as if her dream had actually come true. She enjoys her time in his body, but only half-heartedly attempts to retain Taki’s reputation, as she believes it is all just a ‘very realistic dream.’
Shinkai’s ‘your Name.’ Returns To #1 In Japanese Box Office In 11th Week
Taki returns to his own body, upon which he is continuously shocked by the changes Mitsuha has made, from leaving a ‘thanks to my feminine powers’ memo in his electronic diary to fixing his crush and coworker, Miki Okudera’s, skirt with threads. At the same time, Mitsuha finds that back in Itomori, Taki got angry at several of her classmates after mocking Mitsuha (which he took to be an insult to himself) and channeled his anger by kicking down a desk in the classroom. Both, shocked, flip through their books and notes, and come to the same conclusion: That in their dreams, they are switching bodies.
Through a series of rushed cutscenes (Zen Zen Zense), it is shown that Taki and Mitsuha start communicating with each other by leaving notes on paper or leaving memos in each other’s phones. Both continually voice their frustrations with one another, first, with Mitsuha telling Taki to ‘watch the skirt’, after which Taki tells Mitsuha to stop wasting
