Anime: a colloquial word for one of Japan’s wealthiest films and artistic mediums. Covering over a century of animated wonders and encouraging large quantities of budding artists around the globe to produce environments that are unfathomable in design and classic in sculpture.
Since the beginning of the 20th century, with films such as Katsudō Shashin (‘Activity Photo’) in 1907 and the early works of Jun’ichi and Shimokawa Kōuchi, animation has become a central value of Japanese entertainment culture, with a broad range of films and TV shows made up of more than 430 production studios around the world.
With the first animated film released during the Japan War in 1945, Mitsuyo Seo’s Momotaro: Sacred Sailors (sometimes referred to as Momotaro’s Divine Sea Warriors) started what had been a torrent of Japanese art in several types and ages. Establishing a realm of promise in animated film that largely exudes the very limited feats of Western animation, offering instruments for creating visions and nightmares by pencil, script, and the limitless well of creativity.
Performing a musical of metaphors as a party of various animals salutes their naval troops in a Disney-style propaganda video, Seo, while commissioned mainly by the Japanese Navy, acted to ensure a feeling of childlike wonder in his other work. Ideologic. It was a different day, and because of its abundance of old legislation and past values, anime girl opted to keep it out of this guide and just include it in the introduction.
That said, it’s about time we embarked on our anime exploration quest as we’ve been listing some animation movies from several eras and types over the past 100 years. Presenting a platform that transcends gender conventions and exemplifies facets of culture, colour and craft that are unparalleled in terms of ambition and effect. A semblance of harmony and optimism in the context of a general nationalist narrative that basically concludes with a group of animal children parachuting over the map of the United States, which is likely to mean the next goal.
Without further action and in no special order, here is the definitive guide of best anime movies.
Directed by Native American filmmaker Michael Arias (whose work is mostly focused in Japan) Tekkonkinkreet is an explosive and deeply eccentric film adaptation of Taiyo Matsumoto’s manga of the same name.
A little unconventional in design and fractured in his plot, the film sets out to investigate the sense of brotherhood and allegiance, as our two lead characters, Kuro and Shiro, travel across the kaleidoscopic cityscapes of Takaramachi (Treasure City) battling the ruling powers of the invasive Yakuza group and their brutal and dishonest associates.
Relatively unheard in the wider animated film community, this is an addition that no true media fan can confess to lacking. Impressive in his visual and emotional exploration of the orphanage, Tekkonkinkreet is one of those underground animated films that merit his late acknowledgment and acclaim.
Jin-Roh: The Wolf Brigade
Directed by Hiroyuki Okiur and published by the one and only Mamoru Oshii, Jin-Roh: The Wolf Brigade is a strategic adventure thriller of love and service. Strewn with bullets, revolt, and global intrigue in abundance, Okiur’s somewhat underrated animated film is fiery, dramatic, and surprisingly fascinating.
Set in an alternative timeline where, after the nuclear bombing and the eventual occupation of Japan after the Second World War, the film depicts a nation afflicted by extremism and an imminent revolution. After Kazuki Fuse, a traumatised officer of the elite paramilitary police force who falls in love with the sister of a dead jihadist messenger and an adversary of the regime.
With a fairy tale sensibility, where the beasts are tyrannical and the prey miserable, Jin-Roh: The Wolf Brigade is a must-see for both animated animation connoisseurs and those wanting to explore the prolific scope of works in the format. Adapted from Oshii’s 1988 manga, Kerberos Panzer Cop, Jin-Roh is another excellent addition to the master body of work of the author and an intriguing political parallel to his ground breaking and legendary Ghost in the Shell.
Neon Genesis Evangelion: The End of Evangelion
Serving as a parallel conclusion to the whole Neon Genesis Evangelion TV sequence, The End of the Gospel was planned as a lengthy, edited iteration of the last two legendary (and highly controversial) episodes: 25 and 26.
And to conclude that it would actually dominate the end of the display would be unjust, because the disparity in consistency between the two animated entities multiplied by ten; a film that shows the brilliance of Hideaki Anno in the existential sequence. Bringing back to life a string of budget cuts and Anno’s own battle with addiction, The End of the Gospel was a redemptive resolution for an anime experience that was otherwise tarnished. With the guidance of Assistant Series Director Kazuya Tsurumaki, Anno’s philosophic and ground breaking film is as pivotal as it was in 1997. Except for certain sticky problems with non-reciprocal desire and self-esteem.
Representing a universe in which adolescent pilot giant bio-organic mechs named Evangelions in an effort to combat attackers from hostile celestial beings known as angels, Anno and Tsurumaki’s film was considered bold in its deconstruction. From the original “A Visual Marvel” by Anime Entertainment. News Network, Mike Crandol.
Let’s switch quickly to one of the most unique animations of the modern century, Mind Game, a quirky, labyrinthine and largely experimental animated film. Directed by Masaaki Yuasa and peppered with his distinctive and open form of narration, Mind Game is a film adaptation of Robin Nishi’s manga of the same name.
Representing the hardships and tribulations of a 20-year-old loser, Nishi, who dreams of becoming a comic book artist but can’t even have faith to say the lady he loves, Myon, her feelings for her. After a terrorist event at Myon’s father’s restaurant Yakitori, Nishi and his organisation is confronted with a sequence of criminal acts, resulting in a frenzy of freedom and hysteria (with Myon’s sister Yan).
Spending time on a giant whale, while chasing a Yakuza gun, the three must embrace their inner desires and longings before they are unleashed into the universe and into their lives.
Mind Game is a verified singularity in the animated film universe. Featuring a multitude of animation types, eccentric personality bits, and a vibrant usage of colour, all bundled in a self-degrading, funny arc and internal monologues. Winning a devoted cult amid the accolades of master filmmaker Satoshi Kon, Yuasa’s iconic debut was more than proof of her willingness to take anime and drive it in unfathomable new directions.
Belladonna of Sadness
The famous and well-known animated feature, Belladonna of Sadness, third and final inclusion in Osamu Tezuka’s Animerama series and an all-round commercial disappointment are perhaps the most noted endorsement by formative Anime filmmaker Eiichi Yamamoto (contributing in part to the subsequent bankruptcy of Mushi Production in late 1973).
Loosely based on Jules Michelet’s 1862 non-fiction novel The Witch, which looks back at the stories of young loves, Jeanne and Jeans on the border of a stable and safe marriage, and is like One Thousand and One Nights. Yanamotos’ book is based on the tales of young lovers. However, the baron of France takes advantage of his chance to easily split up young lovers’ relationship and tries to abduct Joan on their night of marriage, according to the ceremonial laws of mediaeval France (which is where the film is placed).
The film addresses several topics of adults and a brilliantly melancholic psychedelic animated tapestry of witchcraft and crime and starvation. Belladonna of Sadness is a must-see for those who consume the prolific anime-world, highlighting the ground breaking influence of Yamamoto and Tezuka on the medium, while at the same time dissecting both personal and historic trauma while seeding. Help. Aid.
Even if the art of creativity and emotional complexity are not to be fainte du coeur or to assume the usual aspects of the medium (too long fights and over-exhibition), this movie is an imaginative feat: erotic and poetic, austere and peaceful. Experimental and ambitious.
Metropolis is the tale of a young man called Kenichi after saving the newly created robot, Tima, who was adapted from the same name manga by Osamu Tezuka, in 1949, published by Katsuhiro Akira Otomo and directed by the anime’s master Rintaro. He embarks on a voyage of friendship and self-discovery from the depths of a burning home.
Rintaro’s Metropolis, based on a loosely based sci-fi epic by Fritz Lang in 1927, looks at artificial intelligence, the increasing reliance of mankind on the technology, and what it entails in a virtual existence to be a human being.
With its political resonance as global as it has been published today, Metropolis is a never-before-beforementioned film of technological supremacy and subversion, owing to Tezuka’s strong art style and to the continued importance of its detailed world structure.
In the 1980s, sci-fi epics became explosive in the field of animated features, though works such as Vampire Hunter D and Lily CAT showed a knack for horror in the medium too. Nobody was as visceral and horribly overt as sorrow. When we got the details, by Yoshiaki Kawajiri. Wicked City, anime dream.
In a future in which ghosts are rampant, coexisting secretly with humans in a different aspect called the Dark World, the film follows employee Renzaburo Taki, secretly enlisting in a secret police force whilst in a job with an electronics firm. Tasked to safeguard a peace pact between the two realms, Taki is instructed to accompany Makie, the demonic woman, and seeks to guard the perverse comedian, Giuseppe Mayart, a 200-year-old mystical, about to sign the Tokyo treaty approved for renewal.
There is increasing tension (political as well as otherwise), partnerships and movies dive into a gothic realm of sexual abuse and perversion. Wicked City is a bizarre, often pornographic example of the adult potential of the animated film of restless tempacles, promiscuity and high-flying action to boot.
It is 2089. This year. War rages in the galaxy. A civilian conflict thwarts the freshly terraformed Venus as two opposing colony, Ishtar and Aphrodia, fighting for supremacy, as the dangerous Roller Derby starts in the midst of devastation.
Reticent to hostilities, Hiro and his friends must decide whether to battle for life or be subjected to planetary warfare barbaric repercussions.
The tale of this is Venus Wars: wars on Venus. When an asteroid has collided with the earth and dispersed most of the atmosphere, the humidity coincides to form acidic seas and unintentionally intensify the attempts of humans to terraform the planet.
Directed by Yoshikazu Yasuhiko, this anime film showcases everything you might hope from an 80s science fiction extravagance focused on his initial manga. A multitude of collisions, high-speed races, and advanced technologies exceed all expectations.