5cm persecond art movie#
Indeed, I wouldn’t want just any movie to look like this just for the sake of it even this film, if it had a more typical feature run time, might feel over saturated to the point that the impact is diminished. The color and the lighting, especially the sun and stars in the alien sky, are hyper-real, intense, and arguably overdone - the art feels busy, and, perhaps, all a bit too much.
In one sequence, we see our main characters Takaki and Akari in a dream together on the surface of a nameless alien world. The beauty of this young love and the sense of loss that pervades the film as it goes on are conveyed mostly through the vast scale and grandiosity of the environments, which contrast with the smallness and transience of the characters and their woes. With fairly unmemorable characters and a straightforward core plot (aside from a few genuinely well-constructed scenes with little moments of dialogue and well executed symbolism), most of the weight of the film falls on the art, and the art carries it. In fact, the core selling point of its plot is how positively mundane it ultimately is - the budding romance isn’t thwarted by the grand design of a scientist or the designs of a quasi-religious supernatural force or the vast expanse of space, but rather pedestrian strokes of bad luck and perhaps a few missed opportunities. Compared even to his other films, though, the art is absolutely essential to the success of 5 Centimeters Per Second and is appropriately prominent, with the characters small or absent in many of the films most iconic frames.ĥ Centimeters Per Second is unique among Shinkai’s early films for its complete lack of any supernatural or science fiction elements. Even in Shinkai’s first feature, The Place Promised in Our Early Days, which has surprisingly short credits for a 90-minute feature, is positively saturated with highly detailed and striking images. Starting with the nearly solo produced Voices of A Distance Star or even the laptop-made short She and her Cat, Makoto Shinkai has probably been most well known for his background art. The first thing that needs to be said about what ultimately makes 5 Centimeters Per Second succeed as a film is that it is persistently, astonishingly breathtaking. So the reason I feel compelled to write about this movie at all is a simple question - why, three days later, can I not get this movie out of my head, or the lump out of my throat? Its vignettes are low on characterization, its character design and animation feel fairly basic, and the sense of continuity between the three stories is relatively weak. Through three episodes following Takaki Tono at different stages of his life, this film follows a pure, idealized young romance as the protagonist and his childhood friend Akari Shinohara drift apart.
0 kommentar(er)
