Sword of the Stranger

by Masahiro Andō (2007, Japan)

Set in Japan’s Sengoku (aka “Warring States”) era, Sword of the Stranger begins with the escape of a young boy named Kotaro from a burning monastery. Left to fend for himself with his trusty canine companion Tobimaru, Kotaro makes his way through the Japanese countryside, surviving as best he can while trying to make his way to a distant temple.

Eventually, Kotaro’s path crosses that of a nameless ronin (masterless samurai). Which proves quite convenient when a group of Chinese and Japanese soldiers corner Kotaro, seeking to capture him for some nefarious purpose. The swordsman quickly dispatches the villains and the headstrong Kotaro hires the swordsman, first to help heal the wounded Tobimaru, and second to protect them until they can make it to the temple, where the monks will give them sanctuary.

Not surprisingly, Kotaro and the ronin begin to bond, though both prove initially headstrong and defiant towards each other. But both have something in common: they’re running from the something. Kotaro is obviously running from the Chinese and Japanese seeking his capture, though he doesn’t know why they’re after him in the first place; the nameless ronin is running from a past that occasionally reappears in his nightmares, and may have something to do with his disabled sword.

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5 Centimeters Per Second

by Makoto Shinkai (2007, Japan)

Makoto Shinkai only has three proper titles (or four, if you count 1999’s She And Her Cat) under his belt, and only one of those is a true full-length film, but he’s already been announced as the new Hayao Miyazaki.

I’ll admit, I’ve done my fair share of stoking that particular fire, due my effusive praise for Voices From A Distant Star (2000) and The Place Promised In Our Early Days (2004). But when you consider Shinkai’s work, with its lush and evocative animation and artwork, and its equally emotional storylines, the only name that readily comes to mind is that of anime’s grand master.

That being said, I get the sense after watching 5 Centimeters Per Second that Shinkai is at something of a crossroads. Though barely an hour in length, 5 Centimeters Per Second is such a perfect encapsulation of the themes that Shinkai has been exploring in his work to date that one can’t help but wonder what’s left there for him to explore, and wonder where he’ll go from here.

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Appleseed Ex Machina

by Shinji Aramaki (2007, Japan)

Shinji Aramaki’s previous Appleseed movie (my review) was much more than met the eyes. On the surface, it was an ultra-flashy, CG-powered anime movie that utilized motion capture and facial imaging to give the animation—and the countless explosions and mecha battles—a greater degree of realism.

Below the surface, however, was a surprisingly engaging storyline that blended tragedy and melodrama with the exploration of some thorny ethical issus such as cloning. In other words, you could enjoy it simply for the mechanized mayhem, of which there was an awful lot, but there was no need to call it a guilty pleasure on that part.

Appleseed Ex Machina, on the other hand, is a completely different kind of film. And no, that’s not a positive thing. Not at all.

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Paprika

by Satoshi Kon (2006, Japan)

In their January/February 2007 issue, the long running anime magazine Protoculture Addicts published an article titled “Top 9 Anime Directors (Who Aren’t Hayao Miyazaki).  The list included a number of noteworthy names, including Mamoru Oshii (Ghost In The Shell) and Shinichiro Watanabe (Cowboy Bebop).  However, the name at the top of the list—Satoshi Kon—might have taken some readers by surprise.

But the fact is that, with the possible exception of Oshii, no one is currently making anime that’s as intelligent, unique, and, well, adult, as Satoshi Kon.  He’s made a career out of constantly pushing the boundaries of the artform, and with none of the usual clichés that tend to permeate it.  And Paprika is yet another example of this.

If you’ve seen any of Kon’s other words—specifically Perfect Blue, Millennium Actress, and Paranoia Agent—than you know that his pet themes include exploring the boundaries between truth and reality, fact and fiction, dreams and waking life.  (If Hayao Miyazaki is to be considered the Walt Disney of anime, than Kon is surely the David Lynch.)

He loves to explore how they shape and influence each other, how we as humans try to differentiate between them, and what happens when the usually clear lines delineating begin to blur and shift.  And it doesn’t hurt that he usually also adds in some social commentary about materialism, modern society’s tendency to alienate, and the role that art and media play in shaping society.

With Paprika, he’s taken that exploration to an entirely new level.

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Haibane Renmei

by Tomokazu Tokoro (2002, Japan)

To this day, I still don’t really know why I picked up the first disc of Haibane Renmei when I saw it sitting there in the store. I don’t recall ever hearing much about it beforehand, and a quick glance at the synopsis would probably have done nothing to really pique my curiosity. Perhaps it was the moody, ethereal artwork on the cover, or that Yoshitoshi ABe’s name appeared in the credits.

Whatever the reason, though, I did pick it up and subsequently found myself enthralled by the series’ world, almost from the first moment. And to this day, Haibane Renmei remains one of the most unique, thought-provoking, and affecting anime series I’ve seen.

Haibane Renmei‘s greatest strength lies in its ambiguity. Now, much of anime loves to toy with ambiguity and engimatic elements, be it through shadowy character motivations, obscure philosophical/religious/cultural references and discussions, or half-explained technological deus ex machina. But oftentimes, these simply feel like attempts to instill more depth, substance, and style to a series than it really needs, demands, or supports. And so when all is said and done, the weaknesses only become more glaring, and the series more frustrating and underwhelming than anything else.

This is most happily not the case with Haibane Renmei.

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