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Director: Tatsuyuki Nagai
Airing of first episode: April 14, 2011
Rating:
 ★★★½
Review:

After ‘Erased‘ this is only the second Japanese anime series I’ve seen. The two series are from the same A-1 Pictures studio, and they are about of the same quality, so how they compare to others I wouldn’t know. Like ‘Erased’ ‘Anohana: The Flower We Saw That Day’ deals with friendship and loss, this time featuring on a group of six high school friends.

In the first of eleven episodes we learn that Teenager boy Jintan, who has dropped out of school, is troubled by a childish blonde girl called Menma, but it turns out he’s the only one seeing her. Soon we learn that Menma is dead, and that she was part of a group of friends led by Jintan when they were kids. After her death the group fell apart, but Menma is back to fulfill her wish. Unfortunately, she herself doesn’t know anymore what her wish was…

Menma’s unknown wish is the motor of the series, as the friends slowly and partly reluctantly regroup as they are all needed to fullfil Menma’s wish. On the way we learn that each of them had a particular relationship to either Jintan or Menma, and they all have their own view on the day of Menma’s fatal death. And what’s more, there are more traumas to overcome.

‘Anohana: The Flower We Saw That Day’ is surprisingly similar to the later ‘Erased’: there’s a jumping from the now to the past (although in Anohana these are flashbacks, not real jumps through time), there’s a supernatural element, there’s a group of friends, and one important mysterious girl who’s dead.

The first episode contains enough mystery to set the series in motion, but the show progresses painfully slowly, and at times I got the feeling Mari Okada’s screenplay was stretched over too many episodes. Especially episode five and six are of a frustratingly static character. In these episodes Jintan, the main character, is particularly and annoyingly passive, hardly taking any action to help Menma or himself, while Menma’s continuous cooing sounds get on the nerve.

The mystery surely unravels stunningly slowly in this series, and only episode seven ends with a real cliffhanger. Even worse, there are some serious plot holes, hampering the suspension of disbelief. Most satisfying are episode eight and ten, which are both emotional, painful, and moving. In contrast, the final episode is rather overblowing, with tears flowing like waterfalls. In fact, the episode barely balances on the verge of pathos. To be sure, such pathos occurs regularly throughout the series. In addition, there are a lot of unfinished sentences, startled faces, strange expressions, often unexplained, and all these become some sort of mannerisms.

The show is animated quite well, with intricate, if unassuming background art. Masayoshi Tanaka’s character designs, however, are very generic, with Menma being a walking wide-eyed, long-haired anime cliché. Weirdly, one of Anaru’s friends looks genuinely Asian, with small black eyes, while all main protagonists, with the possible exception for Tsuruko are depicted with different eye and hair colors, making them strangely European despite the obvious Japanese setting. For example, Menma has blue eyes and white hair, while Anaru has hazel eyes and red hair.

In all, if you like an emotional ride, and you have patience enough to watch a stretched story, ‘Anohana: The Flower We Saw That Day’ may be something for you. The series certainly has its merits, but an undisputed classic it is not.

Watch the trailer for ‘Anohana: The Flower We Saw That Day’ and tell me what you think:

‘Anohana: The Flower We Saw That Day’ is available on DVD

Director: Pete Docter
Release Date: May 18, 2015
Rating: ★★★★★
Review:

In the first decade of the new millennium the Pixar Studio had been the king of animation, virtually topping each film with a better and more original one. But the 2010s were a completely different matter: of the eleven feature films released by the studio in the 2010s only four were no sequels.

But even worse, suddenly the average quality of the films dropped from excellent to a mere okay, with ‘Cars 2’, ‘Brave’, ‘Monsters University’ and ‘The Good Dinosaur’ being particularly disappointing. The only three bright lights in this unsatisfying decade were ‘Toy Story 3’ (2010, arguably the best animated sequel ever made), ‘Inside Out’ (2015) and ‘Coco’ (2017).

Of these three films, ‘Inside Out’ is by far the most original. In fact, it’s one of the most original mainstream feature animation films ever. The whole premise of making someone’s emotions the stars of the film is as daring as possible. True, the idea of showing emotions itself as little persons was far from new, after all, Disney’s own ‘Reason and Emotion’ (1943) was an obvious forerunner, as were more or less the Christian angels and devils aiding Pluto and Donald in ‘Mickey’s Pal Pluto’ (1933) and ‘Donald’s Better Self’ (1938), respectively. But as you may notice, there never were more than two, contrasting each other.

‘Inside Out’, on the other hand, features five, based on work by psychologist Paul Ekman, omitting his sixth primary emotion surprise. The five, Joy, Sadness, Fear, Anger and Disgust, are being shown to be in control in the brain. We watch the emotions of one eleven year old girl called Riley in particular, collecting memories, and coloring them with their particular flavor (bright yellow for joy, blue for sadness, and so on) – following scientific knowledge, in which is acknowledged that emotions affect and change memories. Now, the depiction of the inside of Riley’s brain is a wonderful piece of imaginative world-making, but still surprisingly well-rooted in science, although the idea of ‘core memories’ seems to be an invention of the film-makers alone. In the world of ‘Inside Out’ these core memories build islands of personality, in Riley’s case e.g. goofball island, hockey island, honesty island, and family island.

The film focuses on Joy, and her appreciation of her opposite, Sadness. Together with Joy we learn that sadness strengthens relationships (an idea based on the work of Dacher Keltner, another psychologist), and that sadness is a part of life. We also learn that it can be difficult to grow up, and that it’s okay to be sad about it. These are surprisingly mature messages to come from a mainstream animation film directed to the whole family, and because they’re brought so well, they make the film extra impressive.

The film starts with an introduction, narrated by Joy (Amy Poehler), in which Riley gets born and gets her first experiences, introducing the five emotions in succession. After the introduction, the main plot of the film is set in motion when eleven year old Riley moves with her parents from Minnesota to San Francisco, changing her whole life.

Meanwhile, inside her head, Joy and Sadness get lost inside Riley’s head, and have to try to find their way back home. In this sequence the two cross several sections of the brain, like the memory, imagination land, the dream factory (with film posters like ‘‘I’m Falling for a very long time in a pit’, ‘I Can Fly’, and ‘Something’s Chasing Me!’), and Riley’s subconsciousness. Highlight of this road-trip inside Riley’s head must be abstract thought, in which the characters undergo the four stages of abstraction, rendering them abstract, deconstructed, two-dimensional, and finally non-figurative. During their journey they meet Riley’s imaginary friend Bing-Bong from when she’s was only very little.
While Joy and Sadness are lost, the other three emotions try to direct Riley like Joy would do. Their funny antics correspond surprisingly well with Riley’s conflicting reactions to her new life, which leads to frustration and anger, and finally, depression.

Riley’s emotions are a mix of female (Joy, Sadness, Disgust) and male (Fear, Anger) characters, but when we take a look inside the heads of her mom, they are all female, while inside her father’s head there are only mustached male characters. Interesting is that while Riley is mainly steered by Joy, in her mother’s head Sadness is in full control, while Anger has taken the lead inside her father’s head, making one wonder what made these two adults so. At the end of the film and during the titles the emotions of several other people are shown, even including a dog and a cat.

All the settings inside Riley’s head are depicted in the most colorful and fantastic way. This is a very convincing fantasy world, indeed. The character designs, too, are inspired. The five emotions are depicted as little people, but also as bundles of energy: especially Joy’s edges are bubbly and undefined, and she has a permanent glow around her. This is an incredible tour de force of effect animation, but luckily never distracts from the well-defined characters the five emotions are. The depiction of the real world is also top notch, and seems effortless, convincingly bringing Riley’s new home of San Francisco to life, from her empty bedroom to her new ice hockey stadium. The soundtrack too, by Pixar regular Michael Gioacchino, is very inspired, and the composer gives Joy a theme song that almost matches the theme from ‘Up’ in evoking an emotional response from the audience.

The films has one major flaw, however. By focusing on Joy, this emotion must be a round character, capable of more than one emotion. Indeed, we watch Joy being fearful, and even sad. Joy being sad is such an absurd concept that at that point the suspension of disbelief is breached. Nevertheless, when Joy finally lets Sadness do her thing, this a beautiful moment in the film.

In all, ‘Inside Out’ is a very fine film, one of Pixar’s best, and certainly one of the most interesting animation films to come out of the United States in the 2010s, which can hardly be called the best decade for the medium.

Watch the trailer for ‘Inside Out’ yourself and tell me what you think:

‘Inside Out’ is available on Blu-Ray and DVD

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