NYICFF ’25: Totto-Chan, The Little Girl in the Window

The Tomoe Academy was not exactly A.S. Neill’s Summerhill, but it was quite progressive for its era. That would be the Tojo Era. Tetsuko Kuroyanagi’s parents were relatively modern and somewhat Westernized, putting them a little out of step. Little Kuroyanagi (a.k.a. Totto-Chan) also happens to be a free-thinker, which causes her trouble at most schools. However, Tomoe’s Principal Kobayashi can handle her just fine in Shinnosuke Yakuwa’s Totto-Chan: The Little Girl in the Window, adapted from the real-life Kuroyanagi’s autobiographical YA novel, which screens as part of the 2025 New York International Children’s Film Festival.

Totto-Chan is a classic example of what contemporary audiences might see a gifted student who becomes inadvertently disruptive due to lack of challenge. In Japan on the cusp of WWII, most teachers just consider her a pain. Kobayashi gets her and she thrives under his non-traditional approach. Tomoe also perfectly suits her empathy and tolerance, because it is there that she meets her (arguably best) friend, Yasuaki Yamamoto, a little boy whose leg and arm were shriveled by polio.

She helps build his courage and learns how to be more sensitive towards others from him. Unfortunately, very few of her countrymen try to learn greater sensitivity after the Pearl Harbor Attack. Clearly, her parents have grave reservations regarding the war, but Totto-Chan instinctively understands the need to keep private family business private. She quickly recognizes the dangers represented by a uniform. Totto-Chan is also surprisingly mature when it comes to facing hunger caused by wartime shortages.

Such excesses of Japan’s militarism periodically intrude into Totto-Chan’s life, but the film mostly focuses on her relationships, especially with Yamamoto. When you really boil it down, this is an absolutely beautifully, almost painfully bittersweet portrait of young friendship.

Plus, do not forget Principal Kobayashi, who should already be considered one of the great movie teachers. Arguably, his is the most memorable principal to appear on-screen since Morgan Freeman portrayed Joe Clark. The great Koji Yakusho’s gruff but warmly welcoming voice perfectly suits the nurturing Kobayashi.

The animation is also quite lovely. The look and design of the film are elegantly evocative, in a nostalgic way. In terms of themes and style, Totto-Chan shares a kinship with anime films like Grave of the Fireflies, Giovanni’s Island, and In this Corner of the World, but it displays a much lighter touch. Indeed, its unhurried pace suits the gentle melancholy of the story. Very highly recommended, Totto Chan: The Little Girl in the Window screens tomorrow (3/1) and March 15^th as part of this year’s NYICFF.