Makoto Sinkai. Probably, many lovers of full -length anime have already heard about him. And not only they, because the work of this director in recent years has been able to gain great popularity all over the world. The full -length Titles of Comics Wave, created by Sinkai are waiting for almost the whole world. It is enough to recall the long -awaited release of the film "Suzume closes the doors", which was represented in Japan in November last year. The rest of the world watched the film already in December 2022. The picture of Sinka, without a doubt, overtook all the other films in the film distribution of Japan and even in the United States showed herself very well. Many critics, reviewers, and just anime lovers consider Sinkaya an excellent, productive anime director and a worthy replacement of the great Hayao Miyazaki. And it is difficult to disagree with this, because \u201calmost\u201d all his works stand out markedly against the background of other full -length films. They have their own structure, have their own style of narrative and confidently hold the bar of quality. You can discuss and disassemble his work for quite some time. And not because in his works there are deep meanings or subtexts. His works are sometimes banal in terms of the plot and the conditional Title of the "Weather Child" cannot be compared with the "Walking Castle". But Sinchka does not need to be praised for philosophical reasoning or for the life of the highlights. What he definitely has is his own presentation and style. He knows how to present a story very beautifully and play on the feelings of the viewer. Almost all of his films are saturated with romance, tragedy, naivety, and of course, sensuality (hereinafter on the blog I will very often use this word, since it is precisely it that perfectly conveys the quality of the films of the synca, do not judge strictly). A lump in the soul and contradictions his films most likely will not leave the audience, but will still be remembered for a very long time.<\/p>\n
Good day, dear readers. In this blog, I would like to share my thoughts and talk about all the full -length films of Japanese romance Makoto Sinkaya. What he wanted to convey to us with his animation? What is invested in his titles? And what works of his work deserve the most attention? Let’s look for answers).<\/p>\n
I hope you will be interested. Enjoy reading!<\/p>\n
You know, I pray for you to hear my song, wherever you are. I want to become kind and strong. I hope that our voices will echoed, and that one day we will hear each other. I hope we are still alive .. <\/p>\n
Nitt Sayuri<\/p>\n<\/blockquote>\n
The first full -length film Makoto Sinkaya was the anime Title "Behind the Clouds". The release took place back in 2004, although earlier a picture was also released by Sinkay, a vote of a distant star, a length of 25 minutes. But the latter was not considered a full -length. The painting "Behind the clouds" received many awards and approval from critics, becoming a kind of starting strip for further work of Sinchi. The Comics Wave studio at that time saw the great potential of the director of the animator and gave almost complete creative freedom.<\/p>\n
The film itself turned out to be quite controversial. Then Sinkai was not yet fixed on teenage romanticism, and there was no only good picture, sensual atmosphere and a kind of musical accompaniment in priority. Sinkai also allowed himself to speculate on philosophical topics and made a picture in an alternative science fiction setting (and \u201cbehind the clouds\u201d was the last science fiction director, although he often noted that this was his favorite genre). Added a lot of references to his works, for example, "she and her cat" or "Voice of a distant star". He also began to use his branded styles of visual narrative: display of typical household items, a quick change of frames to sad instrumental music, orders of characters, great attention to the details of the environment and shadows. In his further works, already typical for the synchy tricks, according to the type of visualization of cooking dishes, electric networks, passing trains, and so on will be added. In the same film, Sinkai decided to touch the quite familiar topics. This is first of all: the value of friendship, the emotional attachment of the characters for a long time, the desire to achieve your childhood dream, forgive and accept others, live and survive in the era of the Cold War.<\/p>\n
And Sinkay certainly managed to affect the feelings of the audience, immerse them in a trance of a dramatic and interesting story, force them to empathize with the current heroes, rejoice at their successes and be sad with them. Trinity of very peculiar friends: Takuya Sirakava, Sayuri Savatari, Hiroki Fujisava were well opened in the film. Each hero was paid enough attention to his disclosure. Hiroca\u2019s feelings for Sayuri and his inner experiences regarding the goal, the pain and loss of Sayuri herself, the contradiction in the character of Takui and his desire to complete the begun – all these feelings are transmitted very elegant and understandable. This favorably distinguished the work of Makoto Snowy from other full -lengths, as he always focused on the main characters and did not try to create a crowd of various actors who would only be discovered by half. The maestro very skillfully distributed the screen time of the heroes in the general timing and almost always laid out in these 90-120 minutes. Behind the clouds in this sense was also no exception.<\/p>\n
Five centimeters per second (Byousoku 5 Senchimetoru) 2007:<\/h2>\n
All these years I ran forward, wanted to find something important, something unattainable, and, it seems, in the end, I was left with nothing. I did not know where this anxious thought came from, and was afraid to admit to myself that it was true and continued to work. Then I noticed that my heart is hardened day by day, and it becomes more unbearable to live. One morning I realized with horror that I still could not accept. It became clear to me how much I lost. I quit the company, and I realized that I was standing on the edge of the abyss ..<\/p>\n
Takaki is toned<\/p>\n<\/blockquote>\n
"Five centimeters per second" became the second full -length film Sinky and almost the main business card of the director. In this Title, he has already reached the limit of the transmission of tragic romanticism and love at a distance. The film is three mini-stories connected by one main character who is experiencing different intervals of his life. In the first chapter of the film, the main character himself (Takaki Tono) as a director tells and shows his story with a close friend (Akari Sinohara). Long expectations on the train, a sense of loss and anxiety of the protagonist, sensual and dramatic music, detailed landscapes, elaborate shadows and reflections – all these components from the first minutes attract attention to the film and force themselves to plunge into history. In the second chapter, Takaki moves to the village and studies at a local school, where a classmate falls in love with him. The main character does not reciprocate and this greatly harms the feelings of a friend and to himself. At heart, he also feels guilt and responsibility for what happened. The last chapter tells about the personal experiences of an adult takaki. The hero\u2019s long and sad monologue fully reveals the doom, loss and pain of the character.<\/p>\n