Perhaps adapting an animated film—rather than making a disability film—sets the ceiling for what a film can be. When bullying is set off by "fireworks", it rises to a trauma that neither the abuser nor the abuser can bear. As a manga author, Dajin can continue to approach weakness and violence (for juvenile manga, perhaps death), but Yamada As the animation director of Jingani, I am afraid that I can no longer work together. This is why the movie deleted one of the core of the original work, the voice of the heroine Nizi, because neither her letter (chapter 44) nor her dream (chapter 51) are human weakness that can be touched by planning.
Look at the adaptation with two eyes, one sees how unbearable things are, and the other sees how beautiful things are.
Losing weakness, the movie can no longer make the characters strong: Nizi, Yongshu, two mothers, short-haired girl, squad leader girl, squinting man... If the audience is not patient enough, it will be difficult to understand their behavioral logic. On the one hand, they are stubborn (more than half of them are still too weak, see chapters 46 to 51 for details), but on the other hand, they have to meet the "plot needs": they must find opportunities to fight infighting, because they have to use the interpersonal relationship between friends to repeatedly torture Ishida and Glass act as gorgeous "fireworks" that brighten their wounds.
The advantage of the movie is that it gives the original brilliance, gives every detail in the painting (every sight of Yuzuru, the mud on his body, the swaying of Ueno's limbs when he speaks), gives the soundtrack of Oxtail, and gives a natural flowing sound performance . I like all these.
But these joys are not comparable to the anticipation in my heart when I first heard about Jing Ani's adaptation of this work. Maybe I hope that, despite the animation adaptation, KyoAni can go one step further than their TV shooting.
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