Suzume Is a Familiar Tale of Mourning from Makoto Shinkai

, who in the weeks and months after the earthquake and tsunami reported on the rise in ghost sightings and possessions haunting the region. Suzume’s journey across Japan, which takes her back to the overgrown foundations of her old home, then represents a confrontation with the personal, spiritual and national trauma of 3.11.is a film that imagines modern Japan as a post-apocalyptic setting, evoking the animated beauty and “mono no aware” of pastoral iyashikei like.

While Shinkai has always struggled with pacing and exposition, over-relying on montage and writing stories that retread rather than deconstruct his past themes, his habit of leaning on heteronormative scripts of progress, success and happiness is perhaps the most tiresome.central themes do break from this mold in the climax, but the persistence of these logics become more pernicious as Shinkai tries to tell something more grounded in reality. Plus, romantic love is still tacked on.

It’s easy to redeploy similar critiques as the director remixes themes and motifs from past works. None of these are complaints unique tois now the premier depiction of 3.11 in the global mediascape, and after screening at Berlinale—a first for anime since 2002’s—Shinkai is again courting comparisons to a much-beloved Studio Ghibli director.

In its final act, Suzume returns to Tohoku. The Tokyo skyline gives way to farmland. Abandoned buildings, gates restricting access to areas just off the road, and trucks carrying contaminated soil foretell the final destination of her journey. There is still a magical realism rooted in Japanese folklore underlying the plot of, but for all the worms and portals, there is even more weight lent to the paper of Suzume’s childhood diary.

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