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Though they are poor, she attends school and marvels at all the captivating modernization in Hiroshima city, which has been lovingly reconstructed in detailed depictions of the pre-bombing metropolis. The film jumps 10 years later to an year-old Suzu Rena Nonen.

She has been tracked down by Shusaku Hojo Yoshimasa Hosoya , a stout but quiet young man who met her once when they were young. Hojo is determined to marry her and Suzu relents, joining his family in the ship-building city of Kure about 15 miles away from Hiroshima. There is food rationing, men are being conscripted into the army and the country is preparing for air raids.

The Hojo household, however, has a wonderful view of Kure harbor, and Suzu draws the grand battleships the Yamato and the Musashi. This detail is one of the many historically accurate depictions of places, objects and landscapes in the film. The scenes slyly allude to the fact Rin is a sex worker, and may have had a relationship with Hojo, though Suzu is oblivious to this for a time. As I said, the movie is not without interest, but if you want to see an anime movie about regular Japanese people during World War II, you'd be better off watching "Grave of the Fireflies" or "Barefoot Gen" instead.

Red-Barracuda 24 June This brilliant film remains the only Studio Ghibli film to not be distributed by Disney — it was too disturbing for them. While this one did not have the impact of the earlier movie for me, it was still a very impressive bit of work. It specifically follows a family in the year leading up to the 6th of August when the Enola Gay dropped the atomic bomb on the city of Hiroshima.

The action, however, takes place in Kure, a city nearby. The war is very much in the periphery of the story. Ominously hovering in the background with battleships silently moving into the harbour, military police active on the ground and air raids occurring regularly by the American military.

While the horrors of war do escalate, much of the run-time is devoted to the family drama and this is perhaps the one weakness of the film, as the domestic drama isn't entirely compelling and a bit meandering. It means that we don't get as involved with the characters as much as we should and it could perhaps have been trimmed down a little at the very least.

However, this negative has to be offset by the positive in the way that the story does examine the lives of ordinary people during this time. We also have the constant advance of time towards what we know to be that fateful August day and knowing what is to come actually generates even more tension than not knowing.

When the moment finally arrives, it is understated in a way that is incredibly sinister. A silent white flash, a tremor and then a huge odd-looking cloud in the distance. It is a far cry from the usual way in which nuclear strikes are depicted in films but its very distance and unspectacular presentation creates a curious melancholic and depressing feeling which was quite powerful I thought.

The artwork throughout is beautiful — this is a film which could easily pass itself off as a Ghibli product — and it doesn't pull its punches when it depicts some of the horrors of the aftermath of the 'new bomb'. Overall, this is another powerful and artistically strong bit of animation from Japan.

Fragmented First Half. Heartbreaking Second Half. CinemaClown 29 March Katabuchi juxtaposes the quiet, peaceful Japanese life with the calamity brought upon by war, and it works to an extent. The hand-drawn animation is beautifully rendered, and despite the fragmented start, it makes us invest in the protagonist's journey.

Her arc gets more distressing as plot progresses, with brutal, despairing episodes in between and yet it's rarely hopeless. Several subplots branch out from our central character but only some are involving, plus its mins runtime feels a bit excessive too. Taking its time to find its sure footing but improving considerably once it steps on it, this Japanese animated wartime drama film packs some gut-wrenching moments but it isn't a smooth ride.

Irishchatter 18 February Brillant animation, slow paced, emotional, filled with happiness when the little girl was adopted by Suku and her husband in the end and oh boy i cried too with this one too lol!

Rena Nounen was so good at playing the sub of the film, she really did it well! I would divide this anime into two parts: the first one was dedicated to the girl's early life, marriage and family. The second, the most emotional one, focuses on how simple citizens were affected by the war. The story itself is simple, with no as much of a surprise as to what will happen. But, because it's humane and simple, it captures the audience's attention. Easy to follow and easy to sympathise with the heroes, the movie doesn't overdo it with the war horrors, though the bombing scenes were too long.

But, then again, maybe they had to in order to show what the civilians had to go through. I also enjoyed the fact that it wasn't just a historical film, but it also followed the girl's story and her relationship with her new family and her husband. One thing that didn't work for me, however, was that at some points the movie just rushed things and got a bit confusing, like showing one scene after the other.

But, overall, a great movie, so 7 out of TheMovieDiorama 24 June Japanese animation commonly use World War II as a backdrop for their characters enriched with traditionalisms and virtuous optimism, Ghibli are renowned for it with 'Grave of the Fireflies' and 'The Wind Rises'. Katabuchi manages to encapsulate a coming-of-age drama with historical significance resulting in a hauntingly resonating experience, albeit occasionally stumbling with its own sporadically structured narrative.

A young woman is forced into marriage and moves from her rural family village to the bustling city of Kure where she must learn to overcome adulthood amidst the chaos of war. Admirably, what sets this apart from similar dramas is the nuanced undertone of diligence. Chronicling a large portion of one female's life, thrusted into an unadjusted foreign environment, we see this character develop from an innocent girl who loves drawing landscapes to a hardworking woman who tackles ordinary chores.

Suzu becomes a commendable personality, a microcosm representing the civilians of Japan and their enduring communal spirit. The animation is gorgeous. Ranging from hand drawn characters expressively showing their emotions to water coloured landscapes depicting the natural beauty of Japan. Various animation changes are injected throughout, particularly during a pivotal scene involving the tragic loss of a child.

It is moving in parts, especially the third act, where key events during the war take place such as the Hiroshima bomb explosion. The excess violence is substituted for a more gentle approach, however there are specific frames that illustrate the brutal effects of war.

Unfortunately, Katabuchi's narrative structure seems haphazard, as if he is purposefully attempting to convey Suzu's absent mind. Many scenes do not naturally flow and the constant time shifts made the pacing incredibly inconsistent. It just felt unnecessarily frantic. In saying that though, the majestic art style and thematic story certainly negate these detriments. Flash Review This is a quaint take about a girl living in a rural village in Japan in the 40s as WWII approaches and what that looked like from the villagers perspective and how it affected even their simple way of life.

As the air raids slowly increase frequency, more of the girl's life get stripped away. The focus was on the girl living a simple and normal life while the war begins and as the war ramps up, how her basic way of life was slowly degrades. Without showing really any military fighting it did a great job of setting a realistic scene. This is a very meaningful movie that elevates normal life to an art form. Very beautiful and very special. Plot - There is no story. This is just slice-of-life.

Its mostly pointless filler with people doing things. The only thing to keep this movie together is the time period. Problem is, they do nothing interesting with it and this movie is just boring. Characters - As long as people think that putting their characters in time periods that the audience knows are sad qualifies character development, I will be annoyed. This movie is over reliant on making sad things happen to the characters to gain the audience's sympathy. If you are the kind of person who sees people in ww2 suffering and automatically feels for them, then you will probably need a box of tissues while watching this movie.

However, if you are the kind of person who needs well-developed or at least semi-interesting characters to make a movie worth your time, then I'd recommend giving this movie a pass. Translation - I watched this movie with Japanese audio and English subtitles.

Its not that great. The voice acting is pretty bad, and what they're saying for the most part isn't very interesting and doesn't feel like real dialogue. Animation - Whoever is staying that this film is unique in its art style clearly doesn't watch a lot of animation. This review may contain spoilers. I can handle the truth. Needless to say, it's awesome… Though the war is always cruel, people will manage to live even if it's very hard.

People can find one's place any world… "Suzu" is everywhere…. Along with "barefoot gen" "grave of the fireflys" this movie really shows the horrific realitys of war. Threw the eyes of the people. This movie shows how it was to live as a house wife threw such times.

Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Where to watch. Even as food rations become tellingly stringent, she concocts ever more resourceful ways to cook tasty, filling meals, sure to delight overseas lovers of Japanese culinary cinema.

As more men are drafted, women, on top of material privations, eventually have to step up and do the work of men in factories and as well as perform their civic duties. Art director Kosuke Hayashi and illustration director Hidenori Matsubara deliver beautifully rendered imagery of their busy activities, epitomized by how they re-tailor kimonos into fusion-style overalls that symbolize their departure from traditional femininity.

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