未来のミライ

MIRAI NO MIRAI

MOVIE

MOVIE
Dubbed
SOURCE
ORIGINAL
RELEASE
July 20, 2018
LENGTH
103 min

DESCRIPTION

One day, Kun’s mother brings home a new family member. For the four-year-old boy, joy quickly turns to disappointment when the little sister replaces her brother as the center of attention. The boy can’t bring himself to accept her as his sister. But things turn magical when, with a mysterious garden as his gateway, the boy encounters his mother as a little girl and his great-grandfather as a young man, and has a series of surprising adventures with his older sister from the future. These experiences change how he sees the world and help him grow into the big brother he was meant to be.

(Source: GKIDS)

CAST

Mirai
Haru Kuroki
Kun
Moka Kamishiraishi
Seinen
Masaharu Fukuyama
Yukko
Mitsuo Yoshihara
Otou-san
Gen Hoshino
Oka-san
Kumiko Asou
Baba
Yoshiko Miyazaki
Jiji
Koji Hashimoto

RELATED TO MIRAI NO MIRAI

Cover Art for GREEN DA KA RA x Mirai no Mirai

ONA GREEN DA KA RA x Mirai no Mirai

REVIEWS

CarlosCBenitez13
86/100
An anime that breathes childhood.
First of all I want to apologize for the grammar.
Mirai No Mirai presents a story of a typical Japanese family whit their culture and their busy lives with mothering and fatherhood, where the main character is Kun, a spoil child that feels jealous of her newborn sister, the lack of attention of his busy parents and his whims cause that he run away from home, stumbling upon a magical garden that serves as a time-traveling gateway where he encounters a series of adventures, learning news teachings.
The fact that the tree to meters of his house allow him time-travel that seems great to me, I mean, there is no need to go far, the adventure is here before your eyes, also, Kun can meet with family members who by conventional methods he couldn't.
At the end of the story, to recap the past and the future and see his father's frustration at not being able to ride a bicycle, how his great grandfather overcame the pain of war and turned his disability into skill and the intrinsic love of his great grandparents, it really touches my heart.
__Story: 9/10 Characters: 7/10__
Technically is beautiful.
How progressively the faces of children turn red and when they cry and tears are well achieved.
I like how the animators emphasize in the motions of Kun tripping of the bicycle and up and down stairs, because he still is a child and, it is notice the dedication.
The film develops more in the house, then make close planes that do not disturb the view, and then create wonderful scenes in which the camera moves in a 2D environment in a three-dimensional way where we move from one place to another subtly inside the house .
In the scene of the great grandfather ride a horse with Kun only is needed a couple of wheat plants for making a transition perfectly, changing the plane so you do not find it so abruptly, going from a rural scene with a horse to drive on a route with a motorcycle in a city, and the producers used and perfectly combined real images from a train station for developing part of the story, just great.
__Art: 9/10__
As for the Soundtrack honestly, I don't know much, but I may say that never lack the piano's sound so characteristic of the movie at all times.
__Sound: 8/10 Enjoyment: 10/10__
Finally can this anime win the Oscars? the truth, every year some anime movies is nominated of which no-one wins, if Kimi no Na Wa and Koe no Katachi could't, I see it very difficult, also, Mirai no Mirai competes with movies that already have sequels as The incredibles "2" and Wreck-It Ralph "2", playing with the feels of the their first movies, but if it wins I would not be surprised.
__Maybe the main character bothers some and initiality the principal plot is childish, but the finale has a deep touch, I really recommend it.
My score 8.6/10__
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JTurner82
96/100
Nothing short of mesmerizing.
Mamoru Hosoda's fifth animated feature, Mirai, may seem a bit more small scale compared to his earlier movies such as The Girl Who Leapt Through Time, Summer Wars, and Wolf Children, but it's no less mesmerizing. To anyone unfamiliar with these aforementioned films, I do recommend them highly -- they're all magnificent movies, almost the equivalent of Hayao Miyazaki's work. Mirai isn't quite that, but it's the next best thing.

The film tells the story of a pampered little boy named Kun, used to his parents catering to him all the time. So much so that when he gets a new sister, Mirai (which means "future"), his parents start neglecting him, and of course, he gets jealous. He behaves like any kid in his situation would. He throws tantrums, he bawls, he says nasty things, and at one point, even throws one of his toy trains at his sister. "Your attitude stinks," says another character in the film, quite accurately.

At the peak of every outburst he flees into the garden where a tree is growing, at which point the scene changes to a different location where he meets members of his family when they were younger -- including the pet dog(!), as well as, most mysterious of all, his new sister as a teenager. These close encounters send Kun on flashback journeys where he must learn to be more appreciative and caring and stop acting like a spoiled brat. (In a way, this is sort of like "A Christmas Carol" for 4 year olds, but not feeling "dumbed down" in the least.)

Hosoda handles this story with just the right touch of tangibleness as well as his occasional trademark moments of surrealism. However badly Kun behaves, he remains a very relatable character throughout -- in fact this might be the most realistic portrayal of any such boy I've ever seen in any animated feature. And of course, the animation, as mentioned, is nothing short of gorgeous, complete with a mix of CGI and hand-painted backgrounds -- a rarity in animated films these days... even in Japan. (Hosoda laments how rare this style of background art is becoming and is quite vocal for its support, and rightly so.)

MIRAI is also a surprisingly funny film -- one scene in which Kun and two new friends of his have to put away some dolls without Dad in the room suspecting in particular is hilarious. There's even a brief episode in which Kun tries to ride a bike for the first time -- without training wheels! The results go as well as you'd expect, resulting in yet another outburst as well as a visitation, after which he gets a second chance. There's even a frightening climax at a train station, although I dare not reveal more about it at the risk of spoiling the story.

If you're a fan of Japanese animated features and Hosoda's work in general, Mirai should be a great one to check out. It's accessible to children and adults, and easily superior to many other Western animated features released in 2018, notably the over-bloated Ralph Breaks The Internet. It deserved its Oscar nomination.

Adding to an already great movie is an even better dub provided by the folks at NYAV Post, with top notch directing by the always reliable Mike Sinterniklaas and script adaptation by the similarly talented Stephanie Sheh. This dub, like the similarly grand Disney-Gkids-Ghibli dubs, features a cast of noteworthy names such as John Cho, Rebecca Davis, and Daniel Day Kim. Surprisingly, too, Crispin Freeman -- yes, that Crispin Freeman(!) -- has a brief cameo, and it's always a pleasure to hear him. The real triumph of the dub is, as per usual in a NYAV Post, the casting of the kids. Young Jaden Waldman does an absolutely excellent job at rendering Kun, effectively conveying his mood swings and giving him a lot of appeal in spite of this character's sometimes unlikable personality. (Only issue is that he screams a bit too much, but on the other hand, it makes sense considering the circumstances.) I've always appreciated hearing children voice children -- as evidenced in my praise of the dub for "Nadia: The Secret of Blue Water", and it's a pleasure to see that there are dubs doing this practice today, Mirai being one of them. The lipsync is also spot on with well timed and written dialogue -- a difficult task for any scriptwriter, but it's done well here.

Mirai marks yet another glorious achievement for Hosoda, all the more so because he bases it on a personal story. It's often been said that some of the more inspiring features sing best when the writers write from their own experiences. This is no exception. I look forward to seeing what this director does next.
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Joshimatsu
97/100
Hosoda's Boldest Artistic Statement Yet
Mirai is truly precious and downright heart-melting, while rarely coming off as treacly or overly-saccharine thanks to the clear place of experience and insight showcased in the portrayal of family and siblings that Hosoda possesses. His understanding of the essence of family grows more profound with every film. The man has always been fascinated with the theme of family and how our bonds to our lineage form us into the people we are. Mirai is perhaps the most resonant implementation of this theme the visionary director has yet conceived. Truly a beautiful, heartwarming and downright infectious and endlessly charming experience. The film doesn't follow a traditional plot structure and is possibly the director's most "arthouse" work yet, and this may not work for viewers less inclined to be fully absorbed by its child's eye view of the world, but the film perfectly captures that essence of a child's point of view.

In less capable hands the main character Kun, as a young child, could have easily been unrelentingly obnoxious and insufferable, but in his grasp the character is often more endearing than not. And when he isn't, its purposeful. The entire family feels extremely real and grounded. Kun feels like a real 4 year old kid. The parents feel like real, well-meaning but exhausted people simply trying not to screw up raising these little gremlins. Their relationship together is often chaotic and just barely avoids tearing at the seams, but ultimately their intrinsic love for each other always brings them to reconciliation.

Like many of his works, Mirai is an ode to the bonds that tie multiple generations of family together. It wasn't structured like a traditional narrative, or even most other Hosoda films, working rather as an interconnected set of dreamlike vignettes tied together by the recurring theme of familial ties and Kun's arc of understanding them instead. But the 4 year old protagonist made the film's childlike perception of the world and the blurring between reality and imagination believable. The film isn't interested in exploring the sci-fi mumbo-jumbo implications of the time-travelling aspect and it's honestly probably better for it. It would unnecessarily convolute its simple message.

Production-wise, this was possibly the director's best-looking work yet, with lots of interesting and diverse implementation of both traditional AND CG animation. Particularly, the use of CG for the house in the tracking shots to convey time passing through different sections of the massive structure was super cool and reminded me a lot of the extended take in Wolf Children that continuously shifts between the classrooms to show the children growing progressively older and climbing grades, only much more ambitious in scale. The final act was possibly the most exciting portion of the film for me, filled with dark, twisted imagery in a vast, disturbing and purgatory-esque train station. The art and color choices on display here was absolutely entrancing, expertly blending the 2D and CG mediums together.The level of detail in the character-acting in general was truly impressive. They went above and beyond to make every character's movements in the world perfectly fit their personalities and age.

This is simply one of the most effective cinematic expressions of a pure idea/theme I've ever seen, and the stunning visual and sound direction (particularly in the final act) can not be understated in its contributions to this. And regardless of one's opinions on the Oscars as a legitimately respectable awards ceremony, Mirai was certainly more than deserving of its nomination for Best Animated Feature, as well as being the first to hold the distinction of being the first non-Ghibli/Miyazaki Japanese animated film to earn such an honor.
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