say anything, Reivew on Tokyo Godfathers

I regret that I didn't get in touch with Jin Min's animation earlier. Every animation has a strong collision of rationality and sensibility in terms of narrative structure, thinking and plot. The style of painting is advanced, which is the tone I personally like very much. The three I have seen, Red Pepper, Weima's House, and Tokyo Godfather, seem absurd, but they profoundly reflect various social problems faced by people in the context of a great era. One of the biggest advantages of animation over live-action movies is the magnification of characters' personalities, as well as more subjective picture settings, which can be arranged in a wild way.

His animation hits my heart. No matter how hard I try in the painting, it is difficult to control and express it. Even if it is shown, it is dead, and it is just like this on the shelf. After all, it is restrictive and difficult to communicate with people. Today’s artists either turn into textual narratives, or they don’t understand why, they just want to do something big, but their thoughts are empty and lacking.

Unconsciously, I have become more and more fond of the expression methods of video works, documentaries and films. For Mr. Jin Min's animation films, there are too many places worth learning from Chinese animation, but the premise is that under the current system, can Chinese animation still be saved? . . . wait

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