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Violet Evergarden (2018)
Violet Evergarden:a letter to words
The power of words has been a beloved subject in the realm of cultural creation as it reflects the need of writers themselves to comment on their most powerful weapon. 2016's 'A Silent Voice' dealt with the issue of communication in general and examined different means through which it's established. As if to follow this tradition, another 'Kyoto Animation' favourite, 'Violet Evergarden' came to build on that notion using the nostalgic-and almost obsolete-letter.
It is amazing how an externally cheesy concept that could be the foundation of many a light and melodramatic novellas is elevated through presentation and the synthesis of characters; we have the girl who tries to understand the meaning of the words 'I love you', the last sentence her beloved superior in the army said before she died, by becoming a "doll" that writes letters for other people.
Violet, however, isn't your average heroine. She resembles the speech and the bearing of a robot so much that the viewer at first is baffled: did I sign up for a romantic drama with a cyborg? Having spent her early childhood as a weapon for the army she gives at first the impression of being devoid of emotion; a beautiful machine dyed in blood. Nevertheless, after the end of the war and the loss of her mentor and caretaker, she begins a journey to discover her humanity and gradually starts to understand the potency of words through her interactions with the people around her.
Missions to remote observatories, to the rural hometown of her co-worker, to the house of a grief-stricken playwright, to the battlefield, to the opulent castle of a princess bring her-an emotional embryo-in contact with human pain pettiness and courage. Along with her, we discover the wide range of expressions she is capable of and the deep sentiments behind her poker face.
Her relationship with major Gilbert is of especial interest. The major is the kernel of her being as he is the one who rejects the idea of her being a simple weapon and even gives her a name.
His loss is so painful because it's a physical constant reminder of her being an independent being, 'cursed to be free', as Sartre once stated, of her need to accept her dual identity as both a cause of loss and a fountain of connection and life.
Violet's journey is embroidered with an interesting cast of characters-each with his own aspirations-a tumultuous political landscape and animation so stunning that puts many real life photographs to shame. The vibrant colours of her brooch and the port-city where she lives-in accordance with the major's instructions-are especially deep and complex reflecting the heroine's experience and emotions.
'Violet' the flower today has come to symbolize 'modesty' and different facets of love. 'Violet' the series is, accordingly, a slice-of-life drama which may not be as extravagant as other 'flowers in the field' but possesses an undeniable beauty and raw emotional power. That's why it definitely deserves a place in your garden.
Shingeki no Kyojin (2013)
Attack on Titan or...human
As humans and, therefore, beings with a need to embellish our reality, we are highly prone to hyperbole, especially concerning the fruits of the manga-anime industry. Exaggerated views and obsessed fandoms are dominant factors behind the curiosity of "outsiders" who drawn from our enthusiasm delve into different series only to find themselves, on many occasions, searching for the allure. Every rule however that respects itself is complimented by at least one exception. Enter Attack on Titan.
In contrast to other series that are hanging between impressive worlbuilding and bland characters or the opposite, "AOT" chooses to present an interactive relationship between its characters and the harsh reality that envelops them. In a bleak dystopia of cruel deaths, political corruption and ethnological complexity there is no character that can be painted with a binary mindset. Devotion, fiery idealism that pines for freedom and self-sacrifice exist along with nihilism, mass killing and deceit in the face of no other than Eren, our anti-hero MC. What makes Eren a refreshingly original character is the fact that he has the heart of a hero but a ruthless reality forces him to think like a villain, resembling a snake that changes it's skin in it's path for survival.
The extensive cast that accompanies Eren in his descent (or ascent?) to a changed reality as the series progresses is equally captivating with fascinating characters who represent different facets of our behavioral spectrum; strategists who make cold, devilish decisions, kindhearted diplomats with a knack for manipulation and fierce warriors with an opaque sense of identity are representative indicatives of the creator's will to constantly surprise us with the characters' reaction to a world they cannot control. The fact that some of the most interesting ones are female-an angelic, stubborn queen and a controversial Titan with a turbulent past are probably ringing some bells-only adds to the allure.
Apart from a character study, though, AOT is also a series with strong elements of action. The fight scenes are masterfully presented and create a thrilling impression what with the meticulous animation, epic soundtrack and steampunk vibes. The use of color is also something to be commented on as the warm earthy tones that are usually used, work as a visual irony considering the amount of icy killing intent that fuels many of the scenes.
If you ask me whether this series can be rewatched I would reply that it depends on your psychological stamina. However, even one time makes for a compelling watch. AOT is truly bleak and a hard pill to swallow. There is no character to idolize or demonize. Nevertheless, its philosophical take on freedom and survival is a "mental" attack that we are definitely in need of.
Ansatsu kyôshitsu (2013)
"Assassination Classroom": the "killing" we should all aspire to
The manga-anime universe is an inherently unique and special world of its own. However, when you find a series that proves to be the oddball among others of its own kind you know you have experienced something truly original.
"Assassination Classroom" uses as raw material the tropes and extravagance of the shounen-comedy-action genre to present in a fresh and witty way a beautiful allegory about the fundamentals of true education and the importance of acceptance, tolerance and sincerity in human relations. Despite the crucial social themes it explores, such as social exclusion, unethical scientific experimentation and the burden of perfectionistic expectations on the student body, "Assassination Classroom" is first and foremost a quirky comedy and nothing encapsulates the spirit of the show better than the notorious octopus-like teacher Koro-sensei.
Koro-sensei is an eccentric, mildly perverted, anthropomorphic yellow octopus with a shady past and an overbearing personality, who mysteriously decides to teach the pariah-class of a demanding school for one year until the time to blow up the earth comes-or so we are told. Deeply charismatic and with a great sense of duty regarding his students, Koro-sensei is the figure that brings the conflicting elements of his classroom together in a chaotically harmonic way. Being the mentor and the target, the foe and the friend he lives as a walking oxymoron that isn't afraid to use unconventional methods in order to teach his students important life lessons. Due to his unflinching honesty and unbreakable trust to his students' individual powers, he works as a catalyst for the change of the "underachieving" pariahs to confident and capable young adults, while also being a lovable creature with hilarious flaws and weaknesses that make the ending of the series much more poignant.
The outcasts of class 3-E are also an indispensable part of the anime, what with their refreshing individuality that allows us to explore the interactions between teacher and student in many more colorful ways. Of all the students probably those who stand out most are Akabane Karma, the devilish, genius strategist, and Shiota Nagisa, a deeply empathetic person with low-self-esteem and a gift for assassination. These are the two poles that constantly attract and clash and determine, up to an extent, the way the class moves and makes decisions, so as to reach the goal of "assassination", with the help of two equally not-run-of-the-mill teachers, Karasuma, a stoic and very professional agent with ties to the Ministry of Defence and Irina (or Bitch-sensei), a seductive and arrogant assassin.
But what about the assassination itself? Is it not provocative to base a whole story on the premise of 28 students being confidentially tasked with the murder of their outlandish teacher? The series replies with an enigmatic snicker and takes every chance to show us that assassination symbolizes the importance of an outwardly impossible goal that will motivate us to strive for the better even if to other people the context seems ludicrous, implausible or insane.
"Assassination Classroom" can be misunderstood by some people as strange and over the top. And that is because it really is. However, the well-written story and the freshness of the characters combined with the spot-on use of visuals and sound elevate the series to an unforgettable educational journey that cannot and should not be compared to others of its kind. It is a "slithery" adventure that sets an example for teachers, students and all interested people alike. So get a grab of some tissues (for sad and happy tears) and go with the flow!
Given (2019)
"Given": difficult but important to watch
"Given" is one of those anime-series that won't instantly catch your eye; there is neither an extravagant presentation of an intimidatingly long cast of characters like in many famous shounen anime nor a rosy, playful feeling, so common in the shoujo genre. It's just four men and their music instruments, and yet that is all we need.
The unassuming character of "Given" works to the series advantage since the viewer doesn't anticipate the emotional depth and relatability that permeates almost every scene, word and movement and leads to an impressive and cathartic climax. The art style follows a similar pattern; clean lines and colors connect with each other to create a well-known urban setting and a small cast of well-drawn characters with no extraordinary appearance. Nevertheless, this aesthetic choice leaves the scene open for the character's imperfections, eccentricities and relationships to shine.
The four main characters are Mafuyu, a laconic and enigmatic boy with great charisma, Uenoyama, an intelligent, self-taught guitarist with a hot temper, Akihiko, a multitalented bohemian drummer and last but not least Haruhiko, the bass player who with his subtlety and kindness brings the band together. The series dives into the personal relationship of Mafuyu and Uenoyama, while "Given: the movie" focuses on Haruhiko and Akihiko, as they experience the results of Akihiko's relationship with Murata Ugetsu, an emotionally unstable violin prodigy.
The communication of the characters, as well as the way they perceive themselves and the musical world, is deeply influenced by dramatic incidents and situations of the past include suicide, loneliness, suffocating possessiveness and unrequited love, among others. The path the lead characters walk is thorny and turbulent. However, both difficulties and bright moments of euphoria are treated with such a sensitivity and healthy optimism, that the viewer can't help but become a mirror of the character's feelings and the creator's humane and harmonic perception of reality.
The catalyst for all the action is none other than music itself; poignant concerts of classical music, exciting performances in small, dark theaters, the sound of two guitars in the school stairs that bathe in sunlight, all are connected through the unique musical expressions that the characters use to interpret their reality into an understandable code, while the lyrics brim with the pain and incandescent hope that distinguish young people.
If you are a lover of slice-of-life dramas, with beautifully constructed characters and soothing art look no further. It is a... "given" that you will be captivated.
Banana Fish (2018)
"Banana Fish", the...addictive anime
When you encounter an anime show that artfully escapes stereotypical and easy categorizations you know you are in for a treat. "Banana fish" has appeared in yaoi, shojo and action anime lists-among others-according to the facet of the show which is emphasized. Nevertheless, the common ground and the unanimously accepted notion is no other than the high-quality and uniqueness of this show.
"Banana Fish" is not an easy show to watch; sexual and drug abuse, child prostitution, illegal experimentation and the nefarious activities of the military and political elite are only some of the heart-wrenching themes addressed during the show, while the majority of the cast is comprised of shady characters and violent pariahs. However, the characters created by Akimi Yoshida-a woman to the surprise of many viewers- manage to shine in this grimy and gloomy New York setting in their own special ways.
The protagonists of this compelling story are Ash Lynx, a handsome, charismatic and calculating gang leader with a dark past and Okumura Eiji the kind and brave assistant of a Japanese journalist who visits the U.S. as part of his research on street gangs. Ash becomes entangled in a national conspiracy after learning of the existence of the mysterious "Banana Fish", while trying to achieve the recovery of his older brother, who has entered a vegetative state after some strange events during his time as a marine in Iraq. Eiji enters Ash's world due to some unfortunate timing and gets the chance to forge a deep bond with him while coming in touch with members of the Corsican and Chinese mafia-looking at you Papa Dino-, sadistic gang leaders and ruthless scientists.
As if the basic topic of a scandalous, global conspiracy was not interesting enough, Yoshida embellishes "Banana Fish" with some of the most complex representations of human relationships found in the anime world of entertainment: from the cruel reality of blood ties that drives Lee Yut-Lung's vindictiveness towards his brothers, to the abuse and antagonism between Papa Dino and Ash and the bonds of trust and respect that bind the hierarchy of the gang world, the author manages to subtly create subplots with great psychological interest and societal awareness that add depth to the brutality of the action scenes, while criticizing them.
Of course the relationship that receives the most attention is the one between Ash and Eiji. We all find ourselves, while watching, posing the question "Is that a homoerotic relationship of star-crossed lovers, or are they friends who respect and care for each other very much?". Yoshida, however, refuses to indulge in easy answers and fun service and instead presents a relationship that is not based on carnal pleasures and clear exchanges, but on wholehearted acceptance of the other person. Ash, as a tormented individual who can't help standing out and outshining the others, finds solace in the normality and humility of a comparably unclouded Eiji, who is willing to understand the ethical and emotional dilemmas that drive Ash's apparently cold and violent behaviour and accepts him unconditionally. Eiji is the oasis of humanity and normalcy to Ash's turbulent and deadly reality, a reality from which, in the end, he is not able to escape.
"Banana Fish" is a perfect choice for people who are not afraid to experience an amalgam of different anime genres that is also pleasing to the eye, what with it's masterful and symbolical use of color and light. It is a series whose idiosyncrasy is reflected on the title, derived from Salinger's work. The words "banana fish" are quirky and deliberately elusive meaning to confuse the viewer and they trick us into opening the door to Ash's world. "Banana Fish" means both "enjoy" and "be careful". The choice is yours.
Koe no katachi (2016)
"A silent voice" is pleasantly...loud
Until I had the pleasure to watch "A Silent Voice: the movie" I was under the misapprehension that the anime-style and quality established by the great master Hayao Miyazaki, was long gone. It was with great relief that I realized how mistaken I was.
"A Silent Voice" is one of the rare movies that can be rightfully called "human"; there is nothing forced in terms of the plot, nothing dramatic or supernatural with regard to presentation that could possibly mislead the viewer or mischievously attempt to cover any flaws. The movie itself is only a pure, transparent, crystal clear pond. That does not, nevertheless, mean that the waters aren't troubled.
The movie focuses on the relationship between Shoko Nishimiya, a deaf girl, and Shoya Ishida, the boy that bullies her in 6th grade to the point of her having to transfer to another school. As a result of his actions, Shoya gets to have a taste of his own medicine, as he gradually becomes a pariah and he is scorned by the rest of his classmates. This abrupt change of reality transforms Shoya himself and gives him the opportunity to change for the better, while facing self-loathing, suicidal thoughts and numbness and discomfort when it comes to socializing.
In contrast to many other commercial movies, the character who at the beginning is presented as the bully, does not remain bounded to this facet of his personality but instead, he is treated as a troubled human being with complicated feelings and a true capability of change. Shoko Nishimiya, respectively, is not facing difficulties only due to being in some way handicapped, but also because of her low self-esteem and naivete that make her susceptible to self-harm and vulnerability. Nonetheless, despite their conflicting emotions and inner turmoil, Shoko and Shoya manage to navigate their tumultuous reality together, with the aid of some very interesting secondary characters such as charmingly possessive Nagatsuka and emotionally impaired Ueno.
I would recommend this movie to anyone who is willing to watch a film that offers a unique kind of rewarding escapism. There is no action, no extravagant setting, no ingenious plot-twist, no breath-taking scenery. But underneath this silent urban façade of flawed characters lies an experience that undeniably deserves to be heard.
Jezebel (1938)
The old-fashioned beauty of "Jezebel"
If you watch one of the movies that are associated with the so-called "Old Hollywood", you will realize there is quite a difference between them and our modern cinematic experience; the colours are more vivid and bright, the magic is, in most cases, computer-generated and therefore not many people dare to deviate from the norm. A film that was released before 81 years brought this cultural chasm once more to my mind.
"Jezebel" is a movie concerning a vain and stubborn Southern belle, who after getting a little too far with trespassing the "holy ground" of social conventions, loses her fiancé and tries to win him back. The plot, the setting, the characters seem rather clichéd, right? After all the combination of an almost notorious historical background (antebellum American South) with a dynamic and fascinating female figure is a favourite of the golden epoch of cinema ("Gone with the wind" ringing any bells?). However, there is an ineffable magic to the way "Jezebel" manages to speak to the heart and the mind of the viewer. The American South is presented in all it's undeniable complexity; it is rotten, conservative, superficial, almost primitive, and yet manages to produce characters that are delicate, fragile and noble in their own unique way.
A representative example of the contradictive nature of the time and the place where the plot is unfolded, is the heroine herself. Julie is a wild creature, the undoubtable personification of the 1850s New Orleans. She is a woman who fights against the social norm and is simultaneously trapped in it, as in her effort to fit it to her needs, she pulls the wrong strings. The scandal, outrageousness and shock of her pals that feed her vanity, are the same things that alienate and ostracize her, leaving her alone in times of agony and grief. Society responds to her capricious behavior in a peculiarly didactic way; it remains passive, letting her experience the bitter consequences of her misjudged deeds. Only a great shock does the trick in the end and finally we, the viewers, are given the opportunity to watch, as Julie, casting her mask of ruthlessness and manipulation aside, shows an unspoiled and sensitive part of herself, all that being transferred through Bette Davis' genius.
This cinematic experience is both a journey to an other time, what with the crinolines under the fluffy dresses, the toppers, the carriages, the infamous "yellow jack", and a subtle reexamination of our own time, which, despite of it's developed technology and modernity, remains a human society driven by human passions and sentiments. These, not always counterbalanced by rational and practical thought, are still a major part of the human lifestyle and keep surprising us in the most extraordinary ways.
Million Dollar Baby (2004)
Million Dollar Baby... Million Dollar Movie
When one hears that the theme of a movie revolves around a woman trying to become a boxer he may think "Hmm, that would be good to watch; it is probably another film about a badass girl overturning gender stereotypes". Well, nothing actually prepares you for what you are about to experience.
"Million Dollar Baby" is about a woman named Maggie who wants to become a boxer and her relationship with her stone-faced trainer Freddie Dunn. Any other detail concerning the plot is unnecessary and will only prevent the viewer from delving into the world of these two extraordinary characters. And they are really something. Frankie is a living oxymoron, as his formidable, impenetrable form and laconic speech is juxtaposed with a great emotional depth. Maggie is a diamond in the rough who with dignity and passion literally fights her way to the world. I would, however be unjust not to mention Eddie Scrap-Iron Dupris, the gentle and unsuccessful boxer and current janitor to the gym Freddie owns, who works as a balancing element to the tension caused to the viewer by the explosive nature of the first two.
The setting, furthermore, embellishes in it's own way the cinematic experience. The scruffy gym, the adrenaline-filled rings and the hospital are colored in dull, cold colors, so as to work as a neutral setting for the colourful emotions depicted in the film-canvass; and the emotions presented are raw and violent in an overwhelming and almost intoxicating way. So much, that we are compelled to watch until the very end of the movie with only a few precious intervals of humor and nonchalance to comfort us.
It is true that "Million Dollar Baby" is not an easy to film to watch. With it's intelligent depiction of pain, cruelty and injustice it is a reminder of the dark, and yet, realistic side of life that is often overlooked, as it's a hard pill to swallow. Nevertheless, if you are looking for a gem of modern filmmaking with mind-blowing performances, you are more than welcome to give it try. It will upset you, but it will be etched in your heart for a very long time.
Kill Bill: Vol. 1 (2003)
"And I will strike down upon thee with great vengeance and furious anger..." Ezekiel 25:17
A yellow jumpsuit, a lethal Hattori-Hanzo sword and a charismatic blonde taking bloody vengeance? Yeah, you got it; it's the notorious "Kill Bill", the same movie that, I am certain, got hundreds of naïve cinephiles running to the toilet to force the impression of the film out of their stomach. And yet, despite not being everyone's cup of tea, the "Kill Bill" universe is meticulously constructed in such a unique way, that compels you to give it, the least, a try.
The story goes as such: A woman, and past member of the "Deadly international viper assassination squad", is pregnant and ready to walk down the aisle. However, such a conspicuous past doesn't ensure much tranquility and that becomes evident by the surprise- arrival of the other members of the squad, to the Bride's wedding, who, with the aid of their machine guns, fill the chapel with rotting bodies and leave the blonde protagonist in a four year coma. The tale presents a dark twist when the physically and psychologically beaten Bride wakes up, only to find out that the fetus is missing. That's when things start to get bad, as the incensed Bride swears to revenge all the traitors responsible for this tragedy, wreaking bloody chaos in her passing. Sounds compelling enough?
No? Then let's talk about the heroine. The Bride, whose name we are constantly refused to, used to be one the most talented and dangerous members of her squad. She is a determined and unstoppable force of nature and her efficiency is combined with undeniable physical beauty; she is a carnivorous flower, perfectly fitting to the violent Tarantino world. And this world is violent and ruthless in every sense of the words; it is crystal clear not only in the characters behavior (are O-Ren Ishii, the icy and calculating killer, and Elle Driver, the one-eyed femme fatale, ringing any bells?), but also in the scenery. Tarantino uses bold colours, innumerable pounds of blood and even a nauseating anime sequence, to underline this exact cruelty and madness lurking deep in the human psyche; the film is a celebration of human instincts, in their most crude and therefore perilous form, embellished with carefully chosen pieces of music and "subtle" references to the old-fashioned genre of '70s kung-fu movies.
If you are still nodding your head indifferently then don't bother to watch the movie and torment yourself for no good reason. Pick one of the thousand other movies waiting patiently in the shelves of video stores and leave "Kill Bill" for another time. Maybe someday you will feel challenged enough to watch it.
Shi mian mai fu (2004)
Chinese magic...
I didn't use to be a fan of the Asian cinematic experience; I had grown too much accustomed, if not to the products of the modern Hollywood industry, to the dusty, golden relics of the past and to the more quirky, independent productions of Europe. However, the movie "The House of flying daggers" altered my perspective for good.
The very kernel of the movie is summed up to the everlasting theme of the sorrow caused by the actions and decisions of a charismatic woman and the men who have grown more fond of her than they can take. And yet, what in other circumstances would have been another cheesy, chocolate-box film with evanescent impact, it was in this case a visually stunning film, with unexpected plot twists and awe-inspiring direction. One feature of the movie that really struck me was the harmony that permeated the moves, the words and the landscapes in every single scene so that the film resembled a well- orchestrated dance number embellished with bold colours and bright authenticity.
To the originality of the movie added, furthermore, the unique use of colour; pick any scene you like, may that be the adrenaline-rising scene in the emerald-green bamboo forest or the iconic climax-fight scene illustrated with an amalgam of shades from the winter and autumn palettes, the result is the same: a fundamentally beautiful scenery, lyrical and poetic. The complexity of the visual world works as the ideal background for the complicated characters; exotic Mei is at the same time vulnerable, cunning and dangerous and reckless, conniving, but honest Jin is juxtaposed with Leo, a jealous and deeply hurt master of the art of daggers. All the contradictory emotions of the protagonists are underlined through a wise direction full of close-ups and symbolic body language from the heroes.
I definitely recommend this film to anyone willing to try something that deviates from the norm of predictable and superficial movies that dictate the modern film industry and not afraid to look for his source of entertainment 14 years back.
Black Swan (2010)
The experience of "Black Swan"
When you watch a movie like the Black swan writing something about the movie is an impulse, a requirement but most of all a medicine. You have to get rid of the feeling that nefarious, black winds of madness are suffocating you; the graphically presented notion that perfection is something formidable and lethal exactly because it applies to the non-human, to the godlike. That's why trying to embrace it by denying your originality, your fragile and yet uniquely powerful human nature turns you into a dark reflection of your fantasy and ambition.
But the reason why the movie is a masterpiece is that, apart from being elevated by glorious performances and ingenious directing, it is based on an imaginatively conceived irony; the subtle, graceful and elegant swan transforms into a battlefield where the black and white facets of human nature fight in a sick way and where there is no place to hide, to protect because nothing is innocuous ; the white side, which is expected to denote purity and innocence, represents repressed feelings, no self-esteem and the mechanization of a person. Consequently, the black side is only a climax where the madness of white is combined with dark impulses and all-consuming fear leading to death, which in a pathetic way resembles salvation and dramatic completion of one's personality. Anyone with a preference for well-made movies regarding serious and challenging topics will benefit from this experience as it definitely deviates from our common perception of psychological thrillers.