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Autumn Anime 2016 |OT| The seasons change, but we're still Falling for Euri
- Thread starter TUSR
- Start date
- Status
Valdfellgar
Banned
I just do not understand the fervent fascination with Rem.
SliceSabre
Banned
I want one of Ferris and the Rem one.
Bestest best girl in the history of best girls.
Have you watched Thunderbolt Fantasy? Because if not, you should.
MetroidPrimeRib
Banned
Gon because Killua couldn't kill Gon even if he wanted to
What a massive waste of PVC.
Aye, Crusch and Priscilla are better.
Haly is my Ferris.
GoldCrusader
Member
SAO is love, SAO is life
It's decent
might give it a try
firehawk12
Subete no aware
The death of Yoshida for me. lol
Thunderbolt Fantasy is awesome, if you don't mind puppets you should definitely give it a try.
hosannainexcelsis
Member
I confess I still cannot comprehend how you were fine with Reiko Yoshida writing something like Chu-bra but not fine with her writing Majestic Prince.
Turin Turambar
Member
As much as we like to complain about anime, we have more Thunderbolt Fantasy, more Rakugo and more Eccentric Family coming. And the Logh remake by Production IG could be interesting.
That's pretty good.
That's pretty good.
In before TB isn't anime.
Jex
Member
Belladona of Sadness - Remaster
One of the main reasons I went to the Leeds Film Festival was to watch this particular film – and it was everything I was hoping for and much more. Its reputation as a legendary piece of 70’s psychosexual arthouse cinema is well earned but the movie is far more than a crazy ‘trip’. It was the most beautiful, powerful and important movie that I watched during the entire today. It is also not a movie for ‘everyone’. This is an aggressively weird, experimental, radical piece of cinema that is not mean to be easily digested with your popcorn and diet coke. I watched this with a film festival crowd who chose to watch this movie and even some of them clearly couldn’t handle how challenging this piece was.
I’m going to give away most of the key plot details of the story below but I think movie is more of a political allegory than anything else so I don’t think that ‘spoilers’ matter. I also cannot get into the ‘meat’ of the movie without outlining all the key beats, so please stop reading here if you care about Spoilers.
Belladona is the tale of a newlywed couple, Jeanne and Jean who live in a medieval village. On the day of their wedding Jeanne is raped by the local baron and his lackeys. As a result of this attack Jeanne begins to see visions of a demon tempting her to sacrifice herself to gain power over those who have wronged her. Throughout the course of the story Jeanne continues to suffer and as a result of she finds herself forced to sell more of herself to the demon to gain further power to protect her and her lousy husband. Eventually, she gains too much power and is forced to flee the village when even her husband turns on her. Tattered and broken, she finally gives her soul over to the devil to gain the ultimate power, wherein she finds herself transformed into a witch with powerful scientific knowledge. Her knowledge includes the ability to cure disease, which is something the local nobility want her to share with them. Jeanne demands more power from then in return for this knowledge and in return for this the Baron has her burned at the stake. Yet, her sacrifice is not in vain as we see her spirit of political change transforms all the women who witness her demise.
The movie itself lays out a very simple feminist argument. Women will always suffer at the hands of men (and other women) whatever kind of life they chose to lead. Jeanne originally plays the role of a traditional, feminine women and a good wife – and she suffers for it. Eventually she rejects the traditional gender roles of society and starts take power for herself through her own actions – but she is resented for this by both men and other women whose positions are threatened by her rise. So she suffers again. The only way to rectify this situation is for women to take political power. There is literally no other way for Jeanne (and by extension all women) to truly live a free and flourishing life.
Belladona is a work where the radical (well, far less radical in 2016) political message of the story is matched by equally radical and powerful visuals. There’s no simple way for me to sum of even communicate the visuals of this film because there is truly no over-arching style or look to this film. Think of something like the works of Hayo Miyazaki where the works of hundreds of artists over dozens of years are all homogenised into a recognisable in-house style, and then think of the complete opposite of that. The best way to get an idea of what this entails is to check out the trailer: https://www.youtube.com/watch?v=c9LUA3NgQN0
Scene to scene, moment to moment and sometimes even frame to frame the movie oscillates between a seemingly endless variety of visual styles. There are large sections of this movie without any animation at all, where the camera over beautiful stills. There are also gorgeously animated scenes, such as one depicting the Black Death, who sheer emotional power still sits lingers with me now. There’s totally nonsensical and farcical depictions of metaphysically confused orgies. There’s scenes where animations just drew whatever they felt like. It’s a totally unfiltered and raw movie and you should be aware of this before you sit down to watch it. Do not expect traditional, logical pacing or familiar Hollywood editing. This is a movie created without traditional formalistic rules, even if at its core it telling a story and conveying a clear political message, something which despite all that I’ve said still comes through loud and clear.
This is one of the most beautiful movies I have had the pleasure to watch and I seriously recommend that you consider checking out. Just bear in mind that the movie is weird and ambitious and inconsistent and occasionally repetitive and confused and obvious and yet still fairly stunning.
One of the main reasons I went to the Leeds Film Festival was to watch this particular film – and it was everything I was hoping for and much more. Its reputation as a legendary piece of 70’s psychosexual arthouse cinema is well earned but the movie is far more than a crazy ‘trip’. It was the most beautiful, powerful and important movie that I watched during the entire today. It is also not a movie for ‘everyone’. This is an aggressively weird, experimental, radical piece of cinema that is not mean to be easily digested with your popcorn and diet coke. I watched this with a film festival crowd who chose to watch this movie and even some of them clearly couldn’t handle how challenging this piece was.
I’m going to give away most of the key plot details of the story below but I think movie is more of a political allegory than anything else so I don’t think that ‘spoilers’ matter. I also cannot get into the ‘meat’ of the movie without outlining all the key beats, so please stop reading here if you care about Spoilers.
Belladona is the tale of a newlywed couple, Jeanne and Jean who live in a medieval village. On the day of their wedding Jeanne is raped by the local baron and his lackeys. As a result of this attack Jeanne begins to see visions of a demon tempting her to sacrifice herself to gain power over those who have wronged her. Throughout the course of the story Jeanne continues to suffer and as a result of she finds herself forced to sell more of herself to the demon to gain further power to protect her and her lousy husband. Eventually, she gains too much power and is forced to flee the village when even her husband turns on her. Tattered and broken, she finally gives her soul over to the devil to gain the ultimate power, wherein she finds herself transformed into a witch with powerful scientific knowledge. Her knowledge includes the ability to cure disease, which is something the local nobility want her to share with them. Jeanne demands more power from then in return for this knowledge and in return for this the Baron has her burned at the stake. Yet, her sacrifice is not in vain as we see her spirit of political change transforms all the women who witness her demise.
The movie itself lays out a very simple feminist argument. Women will always suffer at the hands of men (and other women) whatever kind of life they chose to lead. Jeanne originally plays the role of a traditional, feminine women and a good wife – and she suffers for it. Eventually she rejects the traditional gender roles of society and starts take power for herself through her own actions – but she is resented for this by both men and other women whose positions are threatened by her rise. So she suffers again. The only way to rectify this situation is for women to take political power. There is literally no other way for Jeanne (and by extension all women) to truly live a free and flourishing life.
Belladona is a work where the radical (well, far less radical in 2016) political message of the story is matched by equally radical and powerful visuals. There’s no simple way for me to sum of even communicate the visuals of this film because there is truly no over-arching style or look to this film. Think of something like the works of Hayo Miyazaki where the works of hundreds of artists over dozens of years are all homogenised into a recognisable in-house style, and then think of the complete opposite of that. The best way to get an idea of what this entails is to check out the trailer: https://www.youtube.com/watch?v=c9LUA3NgQN0
Scene to scene, moment to moment and sometimes even frame to frame the movie oscillates between a seemingly endless variety of visual styles. There are large sections of this movie without any animation at all, where the camera over beautiful stills. There are also gorgeously animated scenes, such as one depicting the Black Death, who sheer emotional power still sits lingers with me now. There’s totally nonsensical and farcical depictions of metaphysically confused orgies. There’s scenes where animations just drew whatever they felt like. It’s a totally unfiltered and raw movie and you should be aware of this before you sit down to watch it. Do not expect traditional, logical pacing or familiar Hollywood editing. This is a movie created without traditional formalistic rules, even if at its core it telling a story and conveying a clear political message, something which despite all that I’ve said still comes through loud and clear.
This is one of the most beautiful movies I have had the pleasure to watch and I seriously recommend that you consider checking out. Just bear in mind that the movie is weird and ambitious and inconsistent and occasionally repetitive and confused and obvious and yet still fairly stunning.
Girlish No 5-6
Chitose is still just the worst. Drunk Shibasaski is the best. But the real best is Kuzu-san, that huckster con-man fleecing anime companies for all their worth+that one agent lady that really hates his guts.
Gundam IBO latest
Bad arc slightly redeemed by a decent closing episode. Jesus i couldn't care less what they're trying to do with this Hush kid at all.
Tiger Mask 7
Is Tiger Mask's finisher really just a german suplex?
Lol have to say i loved the blatant "hey look wrestling's for everyone young and old" message they were trying to push.
Chitose is still just the worst. Drunk Shibasaski is the best. But the real best is Kuzu-san, that huckster con-man fleecing anime companies for all their worth+that one agent lady that really hates his guts.
Gundam IBO latest
Bad arc slightly redeemed by a decent closing episode. Jesus i couldn't care less what they're trying to do with this Hush kid at all.
Tiger Mask 7
Is Tiger Mask's finisher really just a german suplex?
Lol have to say i loved the blatant "hey look wrestling's for everyone young and old" message they were trying to push.
Cornbread78
Member
but that doesn't explain it all. Kirito and SAO are the devil and have single handedly destroyed anime for all the boys and girls across the world!
Dedication Through Light
Member
Full version of Monster Hunter Stories Ride On OP song is the best. I cant stop replaying it.
Turin Turambar
Member
I see it's on Amazon, cool!
Jex
Member
Father and Daughter
This is a shot film by the director of The Red Turtle, Michaël Dudok de Wit, which they aired before the main screening. This short is readily available on Youtube (once you get past all the porn) so I don’t really feel like I need to say too much about this movie. If you watch this work you will get a very clear idea of the directorial style of the director and of the The Red Turtle.
De Wit does not portray anything which is superfluous. The art is simple, but evocative. All the lines are very clean and the backgrounds are plain. The direction does not draw attention to itself and there is very little movement of the camera. There is no spoken dialogue. The movie communicates its ideas purely through its visuals and has no interest in distracting you with anything else.
It's good. I don't love it, but I appreciate it's technical qualities.
The Red Turtle
I should probably get this out of the way right at the top – I didn’t really care for this film. I think it was the least interesting movie that I saw during the entire festival, including Train to Busan. I agree with Javac in so much as this is clearly well produced and directed movie but that’s about as far as I am willing to go.
This movie is remarkably simple. A man finds himself shipwrecked and stranded on a desert island and resolves to deal with his situation. That’s about all I can say without telling you every major plot point in the film because, truly, there aren’t that many of them. I found myself expecting the movie to build up to some kind of crescendo that never happened and instead what we get is more like a series of vignettes into a man’s life. I was honestly quite surprised to see that the movie captured so much of the human experience inside of this very simple premise, but it’s really due to how tight everything is. This story is as stripped down and honed as’ de Wit’s visual style and there’s truly no fat to be found anywhere.
Speaking of de Wit’s directorial style, this movie very much resembles Father and Daughter in terms of its stylistic approach. The direction rarely calls attention it itself. The camera movement is so minimal as to be effectively non-existent. We don’t get sudden cuts or close ups. Everything is held at a steady and clear distance so that the audience sees everything de Wit wants you to see. It is a very clinical and restrained piece, for the most part. We are observing the actions of the man in an almost objective fashion, rather than the camera subjectively conveying the emotions of the characters are watching it.
If you’ve read or heard anything about this movie you’ll probably know that, like de Wit’s Father and Daughter, this movie does not feature any dialogue but unlike that short film this movie is 80 minutes long. Choosing to go dialogue free for the entirety of this entire feature is a bold and confident creative choice especially for your first major film and in truth the movie does a good job of conveying most of the things you need to know.
Yet, about half way through this relatively short movie I found that I didn’t really care about anyone in the film or what was going to happen to them. I feel like there’s a few reasons why this is the case for me.
Firstly, I don’t personally buy into the main character moment that marks the middle of this film and it’s pretty important you accept what’s going on for the rest of the movie to “work” for you. It’s hard for the movie to really explain everything that it needs to ‘sell’ this to me because, of course, the movie has no dialogue. You can communicate a variety of very complicated ideas through visuals alone but I don’t feel like de Wit did enough to sell me on this one core idea because his visuals are very restrained. If I don’t buy this idea, and the relationship that flourishes from it, I can’t buy the rest of the movie.
Secondly, I don’t think the character designs allow for very expressive character emotions because of the design of the eyes and, on top of that, I don’t think the film has particularly impressive character animation either. They’re less expressive and emotive than even those restrained Miyazaki character designs. This is an even bigger problem when you have no dialogue because then you even more resting on how effectively these characters can convey emotion.
Finally, I felt like this movie was too long. I didn’t feel like anything in the movie justified its extended running time and I would argue you could convey essentially the same simple story in far, far less time. I didn’t feel like a number of the scenes in the movie served any discernible purpose. There’s only so much you can flesh out the characters and the ideas in this movie when you don’t have any dialogue and your directorial style is very restrained. It feels like this is a very simple tale about the human experience told in a beautifully simple way, but I just don’t understand why there is so much of it that is not saying anything of note.
This is a shot film by the director of The Red Turtle, Michaël Dudok de Wit, which they aired before the main screening. This short is readily available on Youtube (once you get past all the porn) so I don’t really feel like I need to say too much about this movie. If you watch this work you will get a very clear idea of the directorial style of the director and of the The Red Turtle.
De Wit does not portray anything which is superfluous. The art is simple, but evocative. All the lines are very clean and the backgrounds are plain. The direction does not draw attention to itself and there is very little movement of the camera. There is no spoken dialogue. The movie communicates its ideas purely through its visuals and has no interest in distracting you with anything else.
It's good. I don't love it, but I appreciate it's technical qualities.
The Red Turtle
I should probably get this out of the way right at the top – I didn’t really care for this film. I think it was the least interesting movie that I saw during the entire festival, including Train to Busan. I agree with Javac in so much as this is clearly well produced and directed movie but that’s about as far as I am willing to go.
This movie is remarkably simple. A man finds himself shipwrecked and stranded on a desert island and resolves to deal with his situation. That’s about all I can say without telling you every major plot point in the film because, truly, there aren’t that many of them. I found myself expecting the movie to build up to some kind of crescendo that never happened and instead what we get is more like a series of vignettes into a man’s life. I was honestly quite surprised to see that the movie captured so much of the human experience inside of this very simple premise, but it’s really due to how tight everything is. This story is as stripped down and honed as’ de Wit’s visual style and there’s truly no fat to be found anywhere.
Speaking of de Wit’s directorial style, this movie very much resembles Father and Daughter in terms of its stylistic approach. The direction rarely calls attention it itself. The camera movement is so minimal as to be effectively non-existent. We don’t get sudden cuts or close ups. Everything is held at a steady and clear distance so that the audience sees everything de Wit wants you to see. It is a very clinical and restrained piece, for the most part. We are observing the actions of the man in an almost objective fashion, rather than the camera subjectively conveying the emotions of the characters are watching it.
If you’ve read or heard anything about this movie you’ll probably know that, like de Wit’s Father and Daughter, this movie does not feature any dialogue but unlike that short film this movie is 80 minutes long. Choosing to go dialogue free for the entirety of this entire feature is a bold and confident creative choice especially for your first major film and in truth the movie does a good job of conveying most of the things you need to know.
Yet, about half way through this relatively short movie I found that I didn’t really care about anyone in the film or what was going to happen to them. I feel like there’s a few reasons why this is the case for me.
Firstly, I don’t personally buy into the main character moment that marks the middle of this film and it’s pretty important you accept what’s going on for the rest of the movie to “work” for you. It’s hard for the movie to really explain everything that it needs to ‘sell’ this to me because, of course, the movie has no dialogue. You can communicate a variety of very complicated ideas through visuals alone but I don’t feel like de Wit did enough to sell me on this one core idea because his visuals are very restrained. If I don’t buy this idea, and the relationship that flourishes from it, I can’t buy the rest of the movie.
Secondly, I don’t think the character designs allow for very expressive character emotions because of the design of the eyes and, on top of that, I don’t think the film has particularly impressive character animation either. They’re less expressive and emotive than even those restrained Miyazaki character designs. This is an even bigger problem when you have no dialogue because then you even more resting on how effectively these characters can convey emotion.
Finally, I felt like this movie was too long. I didn’t feel like anything in the movie justified its extended running time and I would argue you could convey essentially the same simple story in far, far less time. I didn’t feel like a number of the scenes in the movie served any discernible purpose. There’s only so much you can flesh out the characters and the ideas in this movie when you don’t have any dialogue and your directorial style is very restrained. It feels like this is a very simple tale about the human experience told in a beautifully simple way, but I just don’t understand why there is so much of it that is not saying anything of note.
MetroidPrimeRib
Banned
Legend of the Galactic Heroes 069
Y'know I keep saying this is WW1 in Space but Reinhard is much more like Napoleon Bonaparte. He will never, ever let go of "losing" to Yang and it will eat at him to his core. He could grasp control of the entire universe by his own means but would never feel that he earned it because he never beat Yang. Even if he was Emperor of all Mankind, he wouldn't be the greatest because Yang still existed. To Reinhard, never beating Yang means he lost to him.
On the other hand, Yang is far too idealist. His genuine belief in Democracy and the principles of the military are noble but he doesn't want to lead the nation to ensure those principles are met.
Y'know I keep saying this is WW1 in Space but Reinhard is much more like Napoleon Bonaparte. He will never, ever let go of "losing" to Yang and it will eat at him to his core. He could grasp control of the entire universe by his own means but would never feel that he earned it because he never beat Yang. Even if he was Emperor of all Mankind, he wouldn't be the greatest because Yang still existed. To Reinhard, never beating Yang means he lost to him.
On the other hand, Yang is far too idealist. His genuine belief in Democracy and the principles of the military are noble but he doesn't want to lead the nation to ensure those principles are met.
Kirito is just fucking boring as a character.
Let him die, make Asuna the lead and make it yuri. I'll call it Sword Ass Online.
XiaNaphryz
LATIN, MATRIPEDICABUS, DO YOU SPEAK IT
Anime baseball in real life: http://www.neogaf.com/forum/showthread.php?t=1314231
https://www.youtube.com/watch?v=YKJ-tNtrUJk
Through the roof!
https://www.youtube.com/watch?v=YKJ-tNtrUJk
Through the roof!
Dedication Through Light
Member
There are like 1 mln Asuna's in anime. There are so few Kirito's, he was very refreshing and still stands as a standard for anime/japanese literature leads to reach.
Cornbread78
Member
With that title, I would not assume yur at all, lol
Also, Kirito has more personality than most lame MCs.
MetroidPrimeRib
Banned
Girlish Number 06
ah shit, i think im in love
goddamn purple hairs
ah shit, i think im in love
goddamn purple hairs
Soul Eater 30
You know, I hated Kid's introduction episode but since then, his standalone adventures have been loads of fun.
I hope this conspiracy angle with Death won't go too deep. Bit tired of this story beat where the organisation the main characters work for turns out to be completely evil.
Menacing close ups the episode.
You know, I hated Kid's introduction episode but since then, his standalone adventures have been loads of fun.
I hope this conspiracy angle with Death won't go too deep. Bit tired of this story beat where the organisation the main characters work for turns out to be completely evil.
MikeHattsu
Member
Need to catch fire
Drunken British hooliganism subs?
Yeah. If I'm honest its the one streaming video service I couldn't drop. Over Netflix, over everything else.
One persons trash....
Dedication Through Light
Member
Excellent music, excellent plot and characters. Ranta and Haruhiro's change over the course of things was fantastic. Too bad it didnt adapt more.
4 is a cutie
Banned
Is it me or did When Supernatural Battles Became Commonplace seem kind of....pointless? I'd love to hear from someone who liked this anime, because I don't understand why this was even made. Does the book version have more to it?
Loved it. It'll be in my top 10 at the end of year I expect.
Cornbread78
Member
That seams to be a pretty consensus response of it around here. A decent watch that doesn't do anything great, but it can be very entertaining. Did you watch Konosuba yet?
Dedication Through Light
Member
It needs an s2 because the concept was pretty cool. I just wish the last arc wasn't like that but it did make it unique and different.
MetroidPrimeRib
Banned
Hunter x Hunter '99 29
"Yeah your dad did some cool stuff with the ruins and used his money to restore and preserve them."
5 minutes later, after leaving the room
"Ah shit I forgot to tell him his dad is an asshole"
"Yeah your dad did some cool stuff with the ruins and used his money to restore and preserve them."
5 minutes later, after leaving the room
"Ah shit I forgot to tell him his dad is an asshole"
Wish I could read the books as I really quite enjoyed it. A trigger anime series I liked.
Valdfellgar
Banned
I ultimately felt the same way. Wife and I mostly enjoyed the first half, but after that incredible rant it just sort of... lost itself. I'm sure there's a bit more to it all seeing as it did go on for 12 volumes, but I have no idea what was cut, if anything, from what the anime adapted.
Hellwarden
Member
Man, I wish I could see In This Corner of the World.
Almost everything about it appeals to me.
Almost everything about it appeals to me.
Liked it plenty. I didn't even mind the much berated fan service shots, even though I totally understand why they annoy some others. The basic premise of the party starting as bunch of total weaklings unable to kill even a single goblin was very refreshing.
Cornbread78
Member
Gosick ep.13
That new ED is pretty bad. Looks like Victorica is starting to get a little jelly of Avril getting attention from Kujou.. A new mystery, which sounds interesting, is starting as well
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