NYICFF ’17: Ancien and the Magic Tablet

Auto-driving cars could be a technological development that greatly benefits the general quality of life, as long as we are still the ones telling them where to go and not vice versa. That is a concern Kokone Morikawa and her dream-state alter-ego Ancien will come to understand. Her/their experiences will sound a cautionary note on science and industry, but not necessarily a pessimistic one. She will face danger, but if Morikawa survives, she stands to inherit her true legacy in Kenji Kamiyama’s Ancien and the Magic Tablet (trailer here), which had its North American premiere as the closing film of this year’s New York International Film Festival, a mere day after its Japanese opening.

From time to time, Morikawa finds herself lucid dreaming in the dystopian fantasy world of Heartland, a Metropolis-esque city-state dedicated to automobile production, where she is a semi-captive princess with magical powers and her plush dog Joy talks and walks and watches her six. Only her spells, cast through her tablet computer (take your puny little wand and hit the bricks Harry Potter) can invest the Evangelion-like Engine-heads protecting Heartland from the ominous Kaiju, Colossus.

Day-in-day-out, Morikawa is “just” a smart but unusually sleepy kid, with a few close friends she can rely on and her father Momtarō (or Peach the pirate, as he appears in her Heartland dreams). Her mother apparently died when she was young, but Morikawa is a little sketchy on the details and she has never met her grandfather (as per her father’s decisions, not her own). Much to her surprise, events in real world Japan start to parallel the narrative of her long running dream when her father is suddenly arrested and goons from the old man’s car company start rummaging through their house looking for her mother’s old tablet. Morikawa will have to outmaneuver the bad guys in both worlds, but it will be easier for her in Heartland, where she can use her magical powers.

In just about every way, Kamiyama has created the perfectly representative anime film, incorporating nearly every crowd-pleasing “greatest hit” staple of the genre. Yet, somehow, he marshals them in a narrative that always makes sense and never feels forced. Morikawa is also a massively appealing young heroine, plucky, loyal, a bit unsure of herself, but never cloying. There are certainly far more problematic chosen children in sf/fantasy films.

Kamiyama might not have the name recognition here of a Miyazaki, Makoto Shinkai, or Mamoru Hosoda, but he has been entrusted with features in the Ghost in the Shell and Cyborg 009 franchises, so you know he has to be a professional with some talent. In fact, Ancien is exactly the film that will take him to that next “brand name” level up. It is paced like greased lightning and packs a well-earned emotional pay-off. Plus, it is the perfect film for parents and teachers looking to encourage young girls in STEM subjects.

As an additional layer of intrigue, the upcoming 2020 Tokyo Olympic games plays an important role in the film (driver-less cars may or may not participate in the closing ceremony). Hip viewers might hear echoes of the Beijing Games, for which corners were cut and lives were sacrificed just to put on a good show. “Heartland,” with its hulking, inadaptable car factories sure sounds like a veiled reference to Detroit, but Kamiyama is also critical of Japanese industrial organization, making the point in post-screening Q&A that Japan has always been competent when it comes to hardware production but has lagged in software development (hence the use of a formula as a Macguffin).

Most importantly, Ancien also happens to be fun. For anime connoisseurs, it would make a fascinating pairing with Satoshi Kon’s Paprika. Honestly, the closing theme, Hirune Hime’s reworking of Daydream Believer is so amazing, it is worth the price of admission on its own (if the Monkees could have done it like that, they would have been bigger than the Beatles). Sweet but never saccharine, Ancien and the Magic Tablet is highly recommended, following it premiere at the 2017 NYICFF (evidently, an American theatrical release is in the works sometime later this year, so sit tight, true believers).

NYICFF ’17: Rudolf the Black Cat

Hiroshi Saito’s series of children’s books could be likened to a more feline-centric Incredible Journey. A plucky young kitten is indeed determined to reunite with his owner. However, he will learn some hard lessons about what it means to be a cat in Kunihiko Yuyama & Motonori Sakakibara’s Rudolph the Black Cat (trailer here), which screens during the 2017 New York International Children’s Film Festival.

Through his own boneheadness, Rudolf (named after the Habsburg prince, not the reindeer) lands in a Tokyo bound lorry. Prior to this misadventure, he had no conception of the scale and intensity of the larger outside world. He is an older kitten, but he is still ill-prepared for the life of a stray. Fortunately, gruff, street smart Gottalot (a.k.a. Tiger, a.k.a. Boss, a.k.a. etc., hence his preferred handle) takes the naïve black cat under his wing (and teaches him Kanji).

He also makes pals with Bucchi, a randy calico with a mild case of ADD, but the notorious bulldog Devil gives Rudo (as he is now known on the streets) some seriously bad vibes—with good reason. Of course, Rudo and his new friends concoct a workable plan to get him home, but there will be unforeseen complications that really put a cat’s life in perspective.

In terms of animation, it is no Studio Ghibli masterpiece, but Yuyama & Sakakibara (of Pokemon and Final Fantasy fame, respectively) keep it lively and inviting. Their cats (and dog) are enormously expressive and their Tokyo backdrops are surprisingly evocative. Technically, it should earn a pass from animation snobs and its big heart will win over a wide spectrum of viewers.

Yes, lessons will be learned and throats will get choked up, but there is still a lot of mischievous fun to be had along the way. Yôichi Katô’s presumably faithful adaptation also makes sure young viewers end up at a safe and comfy place—just not the one they were probably assuming. Frankly, it is probably just challenging enough for youngsters and just sophisticated enough for oldsters.

Black Cat is sort of a variation on the Finding Nemo theme, but Rudo and company take it in a very different direction. Kids will most likely find it far more captivating than adults, but the latter should still appreciate its charm. Recommended as a sweet and worthy work of animated storytelling, Rudolf the Black Cat screens again on Sunday the 19^th, the final day of this year’s NYICFF.

NYICFF ’17: The World of Us

It might be a cliché, but it could very well be true bullying is more emotionally intense among girls, compared to boys. It is probably even more so in more socially rigid South Korea. Regrettably, that is the situation eleven-year-old Seon faces. She is a sweet kid, so it is often rough watching her in Yoon Ga-eun’s The World of Us (trailer here), which screens during the 2017 New York International Children’s Film Festival.

Seon is not popular and it seems like social class is the primary reason why. A few years ago, she was good friends with mean girl queen bee Bo-ra, but now she is treated like an outcast. However, due to fortuitous timing, Seon meets a new classmate just as summer vacation starts, forging a fast friendship with the well-heeled Ji-ah. They argue and make-up as girls of that age do, but they share a legit friendship, until catty Bo-ra gets a hold of Ji-ah during cram school (which Seon’s parents can’t afford).

Suddenly, Seon finds herself alone again, but Ji-ah’s rejection makes it sting even worse. However, Ji-ah’s new position in the popular clique may not be as secure as she assumes. A kernel of their old friendship might still persist between Seon and Ji-ah, but they only seem to lash-out at each other, out of frustration with peer pressure and their own dysfunctional family lives.

You have to give Yoon credit, because she never waters-down or sugar-coats any of the pain and humiliation Seon experiences. Young Choi Soo-in is also so remarkably expressive, she makes us feel every slight deeply and profoundly. She is just a natural, who will rip your heart out and stomp on it. Likewise, Seol Hye-in gives a completely grounded, utterly unaffected performance as Ji-ah, who is arguably an even more complex character.

Unlike most bullying dramas, Yoon establishes the complex social dynamics that ultimately foster the emotional bullying Seon (and to some extent Ji-ah) endures, including parental alcoholism, divorce, and the lingering emotional baggage from their parents’ childhoods. This is not a reductive story of rich vs poor and jocks vs geeks, even that is essentially what it boils down to on a day-to-day level for Seon.

This is an excellent film, but probably one you will never want to revisit through repeat viewings. However, watching the careers of Choi and Seol blossom (as they surely shall) will be all the more rewarding for those who have seen their debuts under Yoon’s sensitive direction. It is a bold, challenging selection for NYICFF, but it is definitely a film that should develop empathy among viewers (young and old alike). Highly recommended for those who think they can take it, The World of Us screens again this Sunday (3/12), as part of the New York International Children’s Film Festival.

NYICFF ’17: Swallows and Amazons

The cheeky young characters of Arthur Ransome’s YA outdoors adventures were sort of like Tom, Huck, and Becky, if they had a taste for tea and crumpets. Every year, they summered in the Lake District, where they would descend into a state of Lord of the Flies barbarism, but always reverted back in time for their afternoon biscuits. They also try to foil the plans of a ruthless cell of Red Russian spies in Philippa Lowthorpe’s faithfully nostalgic adaptation of Swallows and Amazons (trailer here), which screens during the 2017 New York International Children’s Film Festival.

Father Walker is in Hong Kong tending to the business of empire. Mrs. Walker talks stern, but she is happy to let the Walker brood run rampant, courting death unattended. John Walker is the oldest and the four and therefore supposedly the responsible one. Two girls followed and then a relentlessly bratty young brother. (FYI, the second sister is called Tatty, but her name was spelled with an “i” in the books, leading to all kinds of awkwardness for modern classroom readings).

Both the anti-social Captain Flint and the two Russian spies barged into the Walkers’ train compartment during the trip up, but Mrs. Walker pays them little mind. However, as the Walker kids explore the terrain surrounding Lake Windermere, their paths cross with those of Flint, as well as the devious Lazlow and his henchman. Initially, Flint becomes John’s nemesis, but he will eventually conclude the supposed travel writer is one of the good guys. They will also contend with the Blackett Sisters for primacy on what they like to call Walker Island. Unfortunately, the townies are better sailors than John and therefore stand a better chance of maneuvering their boat, the Amazon around the Walker’s Swallow.

It is refreshing to see a film that unambiguously identifies the Russian spies as the villains. In this case, S&A earns bonus points for casting Andrew Scott, Sherlock’s Jim Moriarty, as Lazlow. However, the tone of the film definitely skews towards the youngster end of the spectrum. Frankly, a lot of those hopelessly dated Disney films Kurt Russell made as a kid have a more mature tone than S&A.

Still, it looks great. Cinematographer Julian Court and production designer Suzie Davies give it a classy period look and texture. As a result, it is definitely more cinematic than your average PBS Masterpiece production. Scott and Kelly Macdonald also soldier on like old pros as Lazlow and Mrs. Walker.

As a junior 39 Steps, S&A will probably charm its 6-12 target demo. It might also make parents wistful for a simpler time when they could turn their grade school children loose for unsupervised overnight sailing expeditions, without anyone lecturing them on their parental judgment. Recommended for young viewers (who are never too young to learn about the clear and present Russian threat), Swallows and Amazons screens this Saturday (3/4) and Sunday the 12^th, at the SVA Theatre, as part of this year’s NYICFF.

NYICFF ’17: Ivan Tsarevitch and the Changing Princess

No firebirds for Ivan Tsarevitch this time around, but there is a princess. Michel Ocelot has a keen appreciation for folklore, but he generally takes what he likes and alters the rest to suit his tastes. The characters of his Tales of the Night/Dragons et princesses pseudo-franchise do the same. The old projectionist and his two young friends still meet in the bankrupt revival theater to share visions of films they would like to make in Ocelot’s Ivan Tsarevitch and the Changing Princess: Four Enchanting Tales (trailer here), which screens during the 2017 New York International Children’s Film Festival.

In a curious inversion, the four tales start with the most compelling and deeply resonant of the bunch. The Mistress of Monsters tells the story of a beleaguered little slave girl who comes to understand the power she holds to command the monsters imprisoning her tribe, with the help of a Jiminy Cricket-like rat. The starkness of this tale is particularly well suited to Ocelot’s sophisticated yet Spartan silhouette style of animation (in the tradition of Lotte Reiniger’s Adventures of Prince Achmed).

The next two tales, involving and a reluctant young pirate who happens to own an extraordinarily good mousing cat and a different sort of sorcerer’s apprentice are quite pleasant, but maybe a little pat. However, the concluding title tale is quite a memorable twist on fairy tale courtships. To save his father, a poor but noble Tsar, Ivan Son-of must acquire a chain of unobtainable treasures for a series of covetous tsars. The final treasure is the cursed Changing Princess, but, much to her surprise, they fall in love instead. Rather than complicating matters, she might just be able to make her curse save his father and secure their happiness.

It is almost misleading to use the term “silhouette” to describe Ocelot’s animation for these fables, because his backdrops are so ornately designed and his use of color is so lush and rich. These are just lovely films. However, there is a bit of sameness to each tale, because the all tend to hit similar emotional beats. Frankly, the fifty-some minute running time might be about right for an Ocelot fable compilation film.

Without a doubt, Ocelot’s elegant craftsmanship and his inclusive exoticism are aesthetically pleasing. Arguably, these films are a good way to expand children’s perception of what animation can be. Still, animation connoisseurs will respect this latest batch of Tales of Dragons and Princesses of the Night, rather than getting bowled over by them. Recommended for fans of folk stories and fairy tales, Ivan Tsarevitch and the Changing Princess screens this Sunday (3/5) at the sold-out City Point Alamo Drafthouse and Sunday the 19^th at the SVA Theatre, as part of this year’s NYICFF.

NYICFF ’17: Your Name.

It is the second highest grossing domestic film in Japan, second only to a Miyazaki film. In some ways, the teen body-switch Macguffin is comfortably nostalgic, evoking memories of Nobuhiko Obayashi’s I Are You, You Am Me, but it also displays a post-Fukushima sensibility. Perhaps it came along at the perfect zeitgeisty time for Japanese audiences, but it is still more than sufficiently universal to sweep up viewers of any nation in its tragic romance. Anime does not get much more emotionally sophisticated than Makoto Shinkai’s Your Name. (trailer here), which screens as the opening spotlight selection of the 2017 New York International Children’s Film Festival.

Taki Tachibana is a bit of a mess, but the Tokyo high school student works hard at his part-time job waiting tables. Mitsuha Miyamizu is a very together student, but she would much prefer to live in Tokyo than the provincial Itomori, because she is embarrassed by her overbearing father, the most likely crooked mayor, and the Kuchikamizake rituals (sake brewed from chewed-up and spit-out rice) she is forced to participate in. Even though they are strangers separated by miles, Tachibana and Miyamizu start waking up in each other’s bodies. It happens regularly enough they develop a system leaving notes for each other on their smart phones of what transpired while they were swapped.

Initially, they bicker via voice memos and generally angst out over the ways they disrupt their respective lives, but naturally a strange attraction percolates between them, even though they never met face-to-face. As a result, Tachibana grows alarmed when the switching suddenly stops. In fact, he is so concerned, he sets off to find Miyamizu offline, or whatever the right term might be, only to learn her hometown was destroyed several years prior in a freak comet collision.

At this point, Name takes a turn into Il Mare territory, introducing unexpectedly fantastical, temporal, and spiritual themes. Frankly, Shinkai’s adaptation of his own novel is almost assuredly the most mature and potent movie romance you will see all year—and its anime. Seriously, if you are not carried along by its sweep and earnest pluckiness than you really must be old and mean.

Both Miyamizu and Tachibana are appealing but imperfect teenage characters, who are each surrounded by believably distinctive social circles. Anyone living in the first world, broadly defined, should be able to relate to the body-switchers and their friends. A perfect case in point is Tachibana’s rather endearing crush relationship with Miki Okudera, a college student also working at the restaurant, whom Miyamizu finally asks out, on his behalf.

Arguably, the first act body-switching business is like cinematic comfort food. We have seen it before, but it always seems to work. However, even reasonably committed anime fans are likely to be surprised how original Your Name gets and how deep it goes. The characters, especially the co-leads, are gracefully rendered and many of the visuals are quite striking. Very highly recommended, Your Name. screens this Saturday (2/25) at the SVA Theatre, as the opening spotlight of this year’s NYICFF.