far, far away begins to fall as the Oscar to ‘spirited away’, the only production asian who has managed to claim the award for the…
far, far away begins to fall as the Oscar to ‘spirited away’, the only production asian who has managed to claim the award for the best animated film of the year. The Academy of Hollywood has agreed to nominate titles as ‘El castillo ambulante’, ‘The wind rises’ or ‘The tale of the princess Kaguya’, but until there has come the recognition.
‘Mirai my little sister’ is the latest title to suffer such a fate, but at least this time the Academy learned to assess to some extent the merits of Mamoru Hosoda, one of the directors of asian entertainment’s most acclaimed of recent times. In this occasion offers us a remarkable fable from the story of a child who feels moved to after the birth of his little sister.
the charm of simplicity
Hosoda bet on the ‘Mirai, my little sister’ by simple visual ideal to lay the foundations of the story. The pampered protagonist does not accept his family more to her little sister and not wasted any opportunity to try to hog the spotlight. For that side we all have quite clear what will be the fate of the story, but Hosoda it uses reality as a basis to make the leap to a fantasy world with certain echoes of ‘a Christmas carol’.
it Is clear that the different discoveries you make while Kun are on their way to an inevitable final reconciliation, assuming your new position in life. That could have been a limitation insurmountable for ‘Mirai, my little sister’, but the script signed by the Hosoda that integrates very well that element more fantastic without leaving ever side the roots realistic history.
This leads to Hosoda to squeeze the background to the apparent simplicity of the animation film, achieving moments of great visual beauty that they add some more background to the story instead of mere whims of its director. Added to that there is a layer of humor quite remarkable that rarely comes to the fore, but that always helps everything to be more easily digestible by the viewer.
‘Mirai, my little sister’ is a delight
this is where I see a major difference in a matter of a tone with respect to what one might expect of a ribbon as well have come from studio Ghibli, since that special sensitivity own of another culture is something that Hosoda also captures wonderfully. However, in your mood there is a greater universality, but without that never be something out of place inside that is telling us about.
If in your home knows how to capture with a lot of charm to the day-to-day of the family protagonist, with the arrival of this fantastic element of the film, this is something that will never get lost, but that coexists with the different discoveries you make while Kun so much of life in general and of the history of Japan in particular. All of this flowing with a naturalness enviable, but not go never in a hurry.
The slower pace may be a disincentive for the children of our time, accustomed to tape more alive in that section, as neither bet by a conventional development. That is something that from a certain age, one appreciates much more -or at least the way I think it should be – and that for me raises even more is what offers the ‘Mirai, my little sister’, getting in addition to providing a greater intensity to the reflections that are going to drop throughout his set footage.
In short, ‘Mirai, my little sister’ is a delight that knows how to handle very well the ingredients which manages to Hosoda for fun when he proposes, get excited when I search and keep you always interested and often fascinated with what’s happening on screen.
the.news ‘Mirai, my little sister’: a delightful fable that succeeds in everything that it is proposed to originally.published.in by Mikel Zorrilla .
March 15, 2019
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