Fantasia ’22: Inu-Oh

How does some heavy biwa sound to you? To the Shogun, it sounds disruptive and dangerous. He is also not very appreciative of the “new” stories from the Tales of the Heike that have made two itinerant performers a sensation in divided Muromachi-era Japan. Art and authority do not mix well in Masaaki Yuasa’s future cult-classic, Inu-Oh, which screened at this year’s Fantasia International Film Festival.

As is often the case in Japanese history, the Heike clan lost their war with the Genji, but they got all the glory (albeit tragic glory). Supposedly, you can still hear the voices of their samurai murmuring from the river where their fleet drowned. Tomona is the kind of sensitive artist who can pick-up their whispers.

As a boy, his father died and he was blinded when the Shogun retained their diving services to retrieve a politically sensitive relic from the river. Having little conventional prospects, the now-sightless teen apprenticed to become a biwa troubadour-priest, but he rejected the traditional shaved head and monks’ robes, in favor of a rock & roll style. That appeals to Inu-Oh’s sensibilities. The frustrated actor and dancer was disowned by his father, a celebrated Noh performer, because of his physical and facial deformities. Even while bizarrely masked, Inu-Oh is a crowd-pleasing performer, especially when he teams up with Tomona. Inevitably, their popularity stirs the jealous ire of the Shogun and Inu-Oh’s arrogant father.

Tomona follows in a long line of sight-challenged Biwa players in  films, starting with Hoichi in the classic Kwaidan and continuing with the one-eyed Kubo in Kubo and the Two Strings. Neither of them played like Tomona. Jethro Tull fans in particular should really dig the fusion of hard rock with traditional (almost pastoral) instrumentation. The musical sequences are extensive, to the point of defining the film’s character and vibe, rather than incidental or episodic. You just can’t miss Tomona wailing on his biwa, like Pete Townsend in his prime.

Fantasia ’19: Ride Your Wave

This case of young love is so sweet it could put you into a diabetic coma, but since it comes via anime, most of us will be okay with it. Hinako Mukaimizu and Minato Hinageshi are an obscenely cute couple, but their romance will be mixed with tragedy in Masaaki Yuasa’s Ride Your Wave, which had its North American premiere at the 2019 Fantasia International Film Festival.

Mukaimizu is already a legend on a surf board, but she is uncomfortable navigating life on dry land. In contrast, everything seems to come easily to Hinageshi, the dashing young fireman, except surfing. Both Hinageshi and his junior, Kawamura Wasabi, noticed Mukaimizu from afar, but it is Hinageshi who turns her head. Of course, he was at the right place, at the right time: rescuing her from her burning apartment building, on a fire department cherry-picker.

Things get serious quickly between them, but their happiness will be rudely interrupted by misfortune. Yet, somehow, they maybe find a way to stay together. In fact, there is a bit of a fantastical twist. Meanwhile, Wasabi and Hinageshi’s sister Yoko start playing larger roles in the drama.

Thematically, Ride Your Wave feels like a closer cousin to Naoko Yamada’s A Silent Voice than Yuasa’s previous films, even including The Night is Short, Walk on Girl. Regardless, it packs an emotional haymaker that rivals Your Name. This is definitely the kind of film that will give you the sniffles down the stretch. Yes, it is shamelessly sentimental, but it also lays a lot of character development ground work that pays off big time.

Yuasa’s aquatic motifs give him the opportunity for some delightfully colorful and splashy visuals. His “new adult” characters are also ridiculously attractive, as physical specimens and as sensitive young kids. However, Michiru Oshima’s groovy instrumental soundtrack and Generations from Exile Tribe’s candy-coated J-pop theme song really make the film so lethally effective.

It is refreshing to see a film that is so unabashedly romantic and utterly unapologetic about wearing its emotions on its sleeve. The surf and sun might bring to mind the 1960s Japanese “Sun Tribe” movies for some cineastes, but the earnest characters are a welcome rebuke to the sociopaths of Crazed Fruit and its ilk. This is a wholesome film, just like Mukaimizu (and surfer girls like Gidget and Annette Funicello before her). Highly recommended for fans of Japanese animation and beach movies, Ride Your Wave had its North American premiere at this year’s Fantasia.

Masaaki Yuasa’s Mind Game

You could say Masaaki Yuasa’s anime cult classic is like Heaven Can Wait on some serious psychedelic hallucinogens. Or maybe it is more like Pinocchio, but still on mind-melting acid or mescaline. Kids, there is no need for drugs when this movie exists. Strange and inconsistent, but clearly the work of a mad genius, Yuasa’s freshly restored Mind Game (trailer here) opens this Friday in New York, at the Metrograph.

Yuasa’s recent films, The Night is Short, Walk on Girl and Lu Over the Wall have been acquired by GKIDS, who are also distributing Mind Game, but parents and patrons should understand clearly and explicitly there is some very adult content in Yuasa’s semi-notorious 2004 provocation, but his hyper-kinetic stylistic blender might be even more off-putting for young viewers. Yuasa mashes together dozens of animation forms, including some deliberately ugly, highly stylized live action sequences, but always with a purpose, mind you.

Narrative is not a strictly linear business in Mind Game, but it largely follows thusly. Nishi is a profoundly morose slacker, who happens to meet up with Myon, the old not-quite girlfriend for whom he has been eating his heart out since their high school days. At the neighborhood ramen spot run by her sister Yan, Nishi had hoped to proclaim his love for her, but instead he meets her emasculating fiancé and is shot dead by an ex-soccer star turned Yakuza.

Nope, that’s not the end. Resentful that the disinterested God will not give him an opportunity for reincarnation, Nishi makes a break for it back to Earth. Coming to seconds before his murder, Nishi turns the tables on the Yakuza and drags the confused Myon and Yan on a mad getaway flight that ends in the belly of a whale. Therein starts the second act.

Actually, mid-section gets rather bogged down in the whale’s belly, which is the film’s greatest drawback. Frankly, there is a whole lot of story told in elliptical fragments that could have replaced some of the whale languor. Granted, there is a point to it all, that is actually totally on-point for our time: the uncertainty of real life is ultimately preferably to the safety of a whale’s belly (embroider that on a throw pillow), but viewers will miss the manic eccentricity that came before.

Or not. This is definitely a film for adventurous cult movie fans. Thematically, it shares some similarities with Night is Short, Yuasa’s best film to date, but aesthetically, Mind Game is entirely its own creature. Essentially, you just need to roll with it, as it starts, stalls, and goes in dozens of directions simultaneously. If you latch on to its wavelength, at some point, the unruliness starts to click, but don’t beat yourself up if you never get there. Still, this is a film serious fans and scholars of animation will have to deal with, because it is so singular. Recommended for the rude and bold, Mind Games opens this Friday (3/2), at the Metrograph.

Fantasia ’17: Lu Over the Wall

When it comes to mer-people, the Celts have their selkie, the Slavs have the rusalka, and Japan tells tales of the ningyo. Those ningyo legends have a darker tone than our Disney and Ron Howard mermaid movies, so it is not so surprising many residents of a coastal Japanese fishing village hold misconceptions regarding ningyos. One compulsively cheerful ningyo will do her best to change their prejudices, starting with a moody Tokyo transplant in Masaaki Yuasa’s Lu Over the Wall (trailer here), which screens during the 2017 Fantasia International Film Festival.

Yuasa has been busy, having already released Lu and Night is Short, Walk on Girl in Japan this year. While both feature his “flat” style of character rendering, Lu is clearly intended for a much younger audience. After his parents’ divorce, Kai moves to the harbor town of Hinashi with his father. The moody aspiring electronica DJ reluctantly joins the band led by town princess Yuho and her torch-carrier Kunio, mostly because he is curious to see Mermaid Island, where they practice.

The island was once the site of an ill-fated ningyo/mermaid-themed amusement park, but deserted jutting rock formation always shielded nearby “Mermaid Harbor” from the sun they dread. This is one of the few ningyo legends that is apparently true. They also really enjoy music, especially Lu, who can’t help singing along with the band. As luck would have it, she has a better voice than Yuho, so Lu replaces her as lead vocalist. Of course, this makes things awkward when they actually get live gigs, especially considering the anti-ningyo sentiments of old-timers, like the old granny who blames the ningyo for her husband’s disappearance.

It is indeed true ningyo can turn the land-bound into ningyo with a vampire bite to the neck. However, they only use their powers for good, as when Lu liberates all the puppies in the pound, turning them into merdoggies. She pretty much has everyone in the audience won over at that point. Still, she is a bit young-looking to be hanging with Kai and Kuho. Supposedly, they are in middle school, but their animated figures look more like high school teens, whereas Lu resembles a nine or ten-year-old. Technically, Yuasa keeps things squeaky clean, but when Kai finally admits he has feelings for Lu, it should make everyone feel a little uncomfortable.

Still, Yuasa has an affinity youthful alienation and the rhythms of small town life. It is also nice to see so many presumably minor characters take on greater significance later in the film. The major plot points are all pretty predictable and the environmental messaging gets a bit tiresome, but Yuasa keeps us hooked with all his clever bits of business. Plus, there are merpuppies. Miguel Ortega & Tran Ma’s Ningyo is still more our kind of mer-creature film, but Lu should charm fans of similar films, like Ponyo and Mia and the Migoo. Recommended for young viewers, Lu Over the Wall screens tonight (7/31) and tomorrow (8/1), as part of this year’s Fantasia.

Fantasia 17: The Night is Short, Walk on Girl

It’s easy to play up the bittersweet moments in an American Graffiti­-style end-of-an-era night of partying. However, if you can find the best parts in the hangover than you’re really onto something. Buckle up, because it is going to be a heck of a party in Masaaki Yuasa’s The Night is Short, Walk on Girl (trailer here), which screens during the 2017 Fantasia International Film Festival.

It starts with a wedding, but the after-after-party is where it’s at. Than these Kyoto college students are off to enjoy the night life of the nocturnal city that apparently puts both New York and Las Vegas to shame. The Senpai (upperclassman) would like to chat up his crush, an underclassman known simply as “The Girl with Black Hair,” but he is painfully shy, He gets ribbed by his friends, but frankly they are even worse, especially Don Underwear, so-called because he pledged never to change his under-garments until he finds the mystery woman he fell in love with during a brief chance encounter. If the logic of his strategy escapes you, just backburner that thought for now.

The Senpai will follow the Girl with Black Hair as she struts through the college district nightlife like an animated Holly Golightly. It would be a bit stalkerish if he weren’t so ineffectual. They might actually be meant for each other, but first the Girl with will get a lesson in exotic cocktail history, assist the Puck-ish God of the Used Book Market restore cosmic balance to the free flow of used books, and step into the lead role of a guerilla theater troupe’s floating production.

Kyoto looks like a heck of a fun city and the Girl with is an absolutely charming companion to share it with. There is probably more alcohol consumed in Night is Short than a typically sloshed Hong Sang-soo or Thin Man movie, but there is more to it than that. In fact, the wild night catches up with them, sending nearly everyone to their sick beds to nurse colds and flus, except Girl with. As she starts tending to her old and new friends, certain aspects of the night come into sharper focus.

Night is Short is a rarity among animated films, because it maintains a light, whimsical vibe, including absolutely no objectionable material whatsoever, but it clearly has an adult sensibility. You need to have lived through a few nights like this, albeit without the surreal flights of fantasy, to fully appreciate the film’s intoxicating vibe.

Yuasa’s style is also rather mischievously flexible. He slides up and down the scale from representationally realistic anime to dayglo candy-colored abstraction, but somehow he maintains a consistency of tone and attitude. It is just a trip to take in all the visual confections.

Like the Girl with Black Hair, Yuasa’s film is an energetic charmer. Night is Short has heart and panache married together in ways we’ve rarely seen. It will make you feel several years younger, so consider it therapeutic. Very highly recommended, Night is Short, Walk on Girl screens tonight (7/30) and tomorrow (7/31), during this year’s Fantasia.