A friend of mine gave me this the existence of this new Japanese animation guru of which I knew almost nothing until recently. Determined, therefore, to make me a filmography culture on him I began by seeing this, his second animated feature film that proved still totally unexpected, especially for its shape.
The story is simple: during the demolition of the film studios Ginei, director Genya and cameraman Kiyoji they decide to make a documentary dedicated to the actress most representative of such studies: Chiyoko Fujiwara. The woman, now elderly and retired from the stage, You agree to be interviewed by the two; Genya actress returns during the meeting a mysterious key, subject very dear to her but thought long lost. Also thanks to the facts memories spring from the precious object discovery (it becomes fairly predictable key of time brings), Chiyoko She begins to tell his story, where the acting career is inextricably binds idealized love for a young painter he met briefly and never forgotten. In the course of the story, the woman's memory confuses reality with fiction of film credits and so one story of love and of life is told through different eras, places and roles. The History with la S capital then becomes that of a single person, and viceversa. What it is told, through a temporal structure and highly articulated and original spatial, It is at the end of the story of the eternal search for love, rather, the sense of love more than anything else as they search for something else, but through a thousand years of Japanese history. The narrative and temporal planes vary continuously with the changing environments and historical periods, and perhaps the thing that struck me the most, more of the story as a tribute to the movies, art and acting, it is this sense of time that results, extremely dilated, repeated, manipulated and upset. It 'a time that you paste it on him, which turns into perceptual residue and which persists even after the anime is nice that finished. Once centripetal, made it perfectly, enthralling and swirling in the affair, but also the vision of the film, which literally turns on itself, which gives the feeling of remembrance, in an eternal confused between the times. Watching this film was a bit 'like walking into a peculiar spiral ..., and yet more evidence of efficient manipulator of temporality which may be the cinema or audiovisual in general. As actress, the protagonist Chiyoko He can only tell his personal story through the film credits: historians, melodrammatici, of war, science fiction, but with countless virtuoso director, From the time the story goes Japanese military expansionism (Chiyoko really lived in his youth) Feudal Japan, (obviously he lived only in the movies), al periodo Meiji, to the future, the 50s, in a succession of filmic fiction and historical reality that, in memory of old woman, I am one. It is the love that moves the story di Chiyoko: everything is driven by passion in this movie and the same story told to lose importance in the face of absolute love feeling that synthesizes and that in fact the film communicates, sometimes exaggerating.
Of this intense storytelling, the director and the operator are not just listeners: with a happy and fun found, even the two interviewers are always located in the middle of the action, also actors in this "History of all the stories ". At the end of the interview, history with la S capital and the personal story of Chiyoko meet in this, which is only a starting point for a new future, symbolized by the discovery of the lost key that returns to the woman Genya. The future will see again the encounter between fiction and reality. Eventually, in fact, what emerges from the story of Chiyoko (both its past said that its present and future) is the flow of History and life and thus the inevitability of aging and death, but in optimistic and circular di Kon, Death is but a new beginning and a different continuation of the same search for love that had always moved and carried on Chiyoko's life.
While not excellent, animation Millennium Actress It looks excellent nonetheless, but what is most striking visual aspect of the film is the great beauty of the seabed it is to genius of certain chromatic and artistic choices. I refer in particular to the scenes in which Chiyoko passes through history walking through paintings, prints, imagery, drawn reproductions of photos in black and white (lit only by a few splashes of color, for example the white-red Japanese flags), paintings in the early twentieth century style for the Meiji period, e così via. Curious also the soundtrack of techno-electro composer Susumu Hirasawa, often in contrast with the images.
In conclusion, the film is not shy about its ambitions high and we very nearly did not become a bizarre and presumptuous exercise hyper-intellectualism, but fortunately it remains primarily an exciting love adventure film, with many beautiful visual found, some comic relief and no dull moment. sure, It is a film that can only be fully enjoyed if you put in motion the brain, but without understanding all the subtleties and symbols, It secured a good show, undoubtedly intelligent. There remains the suspicion of some’ complacency, the film may not like it because more than acting in the screenplay, it does so on a symbolic and temporal plane, but still my positive opinion.