ANIMATION
Mamoru Hosoda Why”Mirai-no-Mirai”
Is his best masterpiece?

”Mirai-no-Mirai” is the highest masterpiece of animation writer Mamoru Hosoda. The instantaneous power is higher than ”The Girl Who Leapt Through Time”, the modernity is deeper than "Summer Wars", the area of mythicality is wider than "Wolf Child's Rain and Snow", and the adventurous mind is more abundant than ”The Boy and The Beast.” And above all, there is an ambition that never existed before.

It isn’t the attempt to set a 4 year-old boy as the ambitious hero. There is ambition in the vector trying to leap from a lower place to a higher place. And this ambition is amorphous to be accomplished for the first time by animation. Hosoda grabbed something fierce that the media called animation was originally caught, in a method unique to him, and took him to a brand new spot with his unique driving force. As a result, intense lyrics emerge.

There is a different dimension of from Victor Erice 's "El espiritu de la Colmena" or Edward Yang’s "A One and a Two" that influenced his works. Furthermore, if you put Jacques Doillon 's "Ponette" as a record of an outstanding invasion to , the uniqueness of ”Mirai-no-Mirai” unexpectedly transcends the history of excellent boys and girls films by live action to surprise you.

The hero seems to be an ordinary child. However, that does not fit in any type. He is neither innocent nor bad. This story begins when the 4 year-old boy is jealous of his younger sister who was just born. That baby sister comes from the future world, interchanges as a junior high school student and relieves the hero. There is no dogmaistic talk of the fact that the subject of jealousy turns to a reliever, and all seem to be delicate and unexpectedly amazing to receive things that only one subjectivity got over the space-time. Deeply impressed.

This isn’t a story of growth; it depicts the accumulation of countless moments of awareness. It isn’t a matter of accumulating experiences, but may be filled with the possibility of being forgotten each time. The fundamental and impressive life force of this movie is brought about from such an uphill stance. Rather than enlightening life without sacrificing smoothness of accumulation of , without sharpness, the movie scoops a trivial universal that is rolling over at the end of haphazard twists and turns. Being compassionate, but not addicting. It is the series of sequences surrounding vehicles that the unpainted form is the most useful.

The boy likes trains, and there is something to like the bicycle in front of him. By inserting horses, bikes, etc. in these two intervals, not parallel linear evolution affirmation, but parallel values are submitted. Something does not protrude; all are still equivalent, waiting with the hands spreading.

Many boys and girls movies tend to serve to caress for adults, but ”Mirai-no-Mirai” is trying inside us. Boldly. Without being afraid. To one moment.

Written by：Toji Aida(相田冬二)