I think it's made deliberately ambiguous as to whether or not they'll remember everything, since it cut out before they said each other's names. The way I see it, either they'll remember everything upon saying each other's names, or they'll slowly remember as they get to know each other. Either way, they're linked by fate so they won't ever break up.
I just think it's sad they never got to have high school sex ;_;
Long-haired, high-school Mitsuha > Cake Mitsuha
>Implying they wouldn't fuck in a comfy love hotel
And considering how much saudade they were experiencing before they met again, it wouldn't surprise me if they're both still virgins
You take that back you son of a bitch
This, basically. >>151962407
The Grandmother described it as the bond connecting people, which forms, then breaks, then binds back together again.
The point where it broke was when Taki realised what had happened to Itomori, and the connection between him and Mitsuha's world was severed. It was that bond which brought them together in the first place, so I guess the breaking of it also erased all evidence of their bodyswapping, from Taki's journals to his memories.
But then, in the end, the bond rejoins, connecting them back together.
That's how I see it, anyway. It feels like the mystical force binding them together is intentionally left vague, along with its methods and goals, if any, which I quite like.
>The way I see it, either they'll remember everything upon saying each other's names, or they'll slowly remember as they get to know each other.
I'd like to think this happened and the place that they caught up at was the cafe that Mitsuha went to on her first switch with Taki.
Here's what I think will happen:
They fall in love and get married and create new memories together.
They don't remember their body swapping experience, but their memories always temporarily return during Kataware Doki.
It'd be kinda like in The Notebook except both of them can't remember except when a certain event (reading the notebook/Kataware Doki) triggers their memories.
She transferred there.
I like to think that they just said their names and then fucked off forever. THE END, people move on and all that supernatural shit was a dream which is why they forgot so easily.
I seriously don't understand how people cant watch this and not even understand the basic key points of the plot.
It's said that when one enters the "underworld" or the dusk or whatever the fuck it was they must leave behind half of them / leave behind the most important thing for them, in this case it was each other's names.
Something similar, watched it long ago.
>It's said that when one enters the "underworld" or the dusk or whatever the fuck it was they must leave behind half of them / leave behind the most important thing for them, in this case it was each other's names.
Holy shit, I just assumed that it was a side effect of Taki going back forcefully or something. I completely forgot about the leaving things behind bit during the climax.
Have you guys seen the MV for the original version of Sparkle? there are some scenes that weren't in the movies. iirc
Mitsuha and Taki looking at an hourglass, Mitsuha in her clasroom on a rainy day, and short-haired college age Mitsuha (I assume she just transferred) and high school Taki meeting each other by The Stairs.
As for the last spoiler I think that was one of the endings that they considered, but it would've been too sweet and convenient. Dunno if we can consider the scene canon though
I already knew they would forget their names since it was asked a lot when the movie aired so I just noticed these parts during the movie and I was like
"ooh I see how it is"
Did you watch the 3-minute version or the 6-minute version? For some reason YouTube doesn't have the 6-minute version but Bilibili does.
>>short-haired college age Mitsuha (I assume she just transferred) and high school Taki meeting each other by The Stairs
They're adults in the end. I assume that this might've been the original ending, but I'm just guessing.
That's a nice theory.
I'll steal it! No one will ever know!
>Taki will remember everything when he fondle Mitsuha's boobs.
That's what I like to think happens too
maybe original ending, but it would be too sweet and convenient. Not really Makoto Shinkai's specialty.
I prefer the old version tho (because I'm in my mid 20's too) because fuck it, love endures in the most bittersweet and inconvenient way.
When I saw the cherry blossoms in the movie I almost got 5cm/sec PTSD.
>it would be too sweet and convenient. Not really Makoto Shinkai's specialty
If Shinkai had his way, the movie would have ended in a more melancholy way and not made as much money
>I prefer the old version tho (because I'm in my mid 20's too) because fuck it, love endures in the most bittersweet and inconvenient way.
Mid twenties here too but the characters deserved to be together earlier. His friend putting the ring on his previous crush before he could meet his girl after all that shit they pulled was harsh.
>Probably just fishing for compliment
Not always. A ton of women got their hair cut really short when Trump was elected for example. A massive change in appearance like that is usually something they will discuss with their stylist a few weeks in advance.
I thought the cherry blossoms signalled another missed encounter. Bridge scene was terrifying, until Taki made a move.
Catharsis is a beautiful thing. Last time I felt like it was with Tatami Galaxy.
Jesus man, what happened?
Have an art piece.
>I thought the cherry blossoms signalled another missed encounter.
I can feel it. The most terrifying part of the bridge scene is that as soon as it cuts to the shot of them walking away from eachother and the music starts playing, I was really expecting the credits to start up at any second.
I have the Chinese hardsub rip downloaded but I really want to see it in HQ because it's Shinkai and I want the best experience.
An Oscar nomination would mean 2 things right now:
1. Leaked screener copy (which may ar may not be good quality)
2. Increased exposure and extended theatrical run (and delayed BD's too)
That said, I'm curious to see what will happen to this film come Valentine season if ever it receives increased exposure.
I really don't want this to circulate on the Western social media or get the Hollywood treatment, it would also put more pressure on poor Shinkai's shoulders for his next movie
Nothing good will come of it
He just wants to make his bittersweet movies about the springtime of youth and requited/unrequited love surrounded by beautiful nature
You can tell he's a little uncomfortable about all the scrutiny on Kimi no Na Wa, just read the interviews
damn, shit would hit the fan if the TSwift and One Direction fanbase get into this movie.
it might compromise his artistic integrity for his next films. execs and studios and money's powerful yo
To be fair Japan Times isn't the most reliable resource but the interview checks out with the original excerpts I read elsewhere.
My interpretation was that they forgot each other because of simple time travel paradox. It’s hard to explain but,
Firstly, Taki-kun was living in a timeline where Mitsuha and a bunch of townsfolk died. This timeline’s Taki-kun was switching bodies with Mitsuha in the past.
After he realised that Mitsuha was actually dead, he went to the crater shrine to drink Mitsuha’s kuchikamisake and switch with her one more time in order to save her and the town.
He switched with Mitsuha in the morning of the day she was supposed to die. He tried to save the town but to no avail, and decided to go to the crater shrine on tasogaredoki.
Him and Mitsuha were able to meet there since tasogaredoki is magical. Then they expressed their love for each other and decided to save the town. At this moment, it was decided that Mitsuha and the townsfolk were going to live and the old timeline got erased.
The tasogaredoki was ending, and Taki-kun was about to return to the future. But he was going to return to the new timeline where Mitsuha and the townsfolk were alive for the whole time. Not the timeline where he was switching bodies with Mitsuha. So naturally, his memories of Mitsuha had to disappear.
At the same time, Mitsuha was going to return to the past. But since Taki-kun was going to a timeline where he never switched bodies with Mitsuha to begin with, her memories of him also disappeared.
Just wanted to add this to >>151966596 because I’m sure some people thought of something similar.
the girl he called is not the same girl he fell in love with. In fact, she doesn’t exist in this universe at all. She is the girl’s alternate universe counterpart, who has fallen in love with the MC’s own AU self, who too is blissfully unaware of her crush.
>tfw Yukino-sensei got asploded by the meteor ;_;
Because Zootopia practically has it in the bag. Kini no Na wa has not had the press that Spirited Away got before it won the Oscar. And without that press, no-one is going to take a second look at some 'Chinese cartoon' (to quote a Oscar voter)
I think we have to imagine the timeline getting divulged instead of being erased and created. So Taki-kun swapping bodies with Mitsuha on ushimitsudoki led to the timeline divulging into a one where she ends up living.
I only watched the movie once though. I'd love to rewatch it.
Remember all those times Yotsuha walked in on Mitsuha(Taki) playing with their boobs and just brushed it off as normal?
Obviously she's walked in on her older sister doing that sort of stuff so often she's completely desensitised to it.
Mitsuha's secretly lewd as fuck, masturbating in her bedroom all the time from being so sexually repressed as a shrine girl in training.
She probably jerked off in Taki's body more than he played with her breasts.
I wanted to thank this thread.
I don't typically watch anime but I thought I'd stop by /a/ to watch something and I randomly clicked this thread.
Needless to say, I enjoyed it and cried like a little bitch.
Didn't think it would become a recurring joke and I didn't expect to like it that much. Pleasantly surprised.
Zootopia was good, and at one point I thought it was better than this movie but after a few days after seeing both movies Kimi was the one that was still fresh in my mind. I'd watch it anyway, just to see how it is.
But officially (from novel), it's a completely rewriting and the nature correct the paradox by erasing memories. Everything happened in the same way except Mitsuha survived.
I liked how the character designs are somewhere between Ghibli and Kyo-Ani. It goes well with all the other dualities within the film (urban vs rural, modern vs traditional, male vs female, etc.)
It's all one big Kataware-doki movie
>Movie ended with 25-year old long haired cake Mitsuha and 22-year old unemployed salaryman Taki
From his suit, Taki is employed and got paid well enough to buy the fucking Aeron chair.
If in the fixed timeline Mitsuha and the rest of Itomori didn't die, then Taki would have no need to see the list of dead people and Mitsuha's name in it. No trauma that would make him ignore Okudera-senpais invitation to fuck (seriously, she was begging for it) and go to the mountain the next day to look for clues. He did go there anyway in the altered timeline but for entirely different reasons. He still loses the ribbon there on that day though.
Anyone smart enough to help me figure out (in a non-fantasy way) what happens to the ribbon and how it ended up with Mitsuha again?
he was job hunting at the start of the flash forward, but I guess the final scene happened weeks or months after last date with senpai.
>No trauma that would make him ignore Okudera-senpais invitation to fuck (seriously, she was begging for it)
In this timeline, it was offered to his buddy. Did you not see who was wearing a ring in the cafe 5 years later?
You know what? Shinkai said it's 8 years because he thought it's a good number. This guy has some quirky idea in his head. kek.
The earthquake changed his view on society.
son of a bitch, i thought it was as simple as time travelling love story
iirc, she was kind of hinting it when she told Taki that BFF boy was in the bath. Taki's too obsessed with phantom GF tho. I guess that erased the last shred of Taki shipping left in her.
And she had great chemistry with BFF throughout the trip, and they went back to Tokyo together. a lot could have happened. I do agree that they did end up together in the end.
You can think of it this way. It's the complete overwriting of the same timeline and the history try to correct itself by make the memory of everyone related to this changing process vague as possible. What's done is done.
I suppose that Taki was at the height of his "I'm missing something in my life" experience even if he didn't know that Mitsuha was dead.
Also, I find it a bit funny that the two people who were most interested in Mitsuha!Taki ended up together.
I may exaggerate it here >>151973125. The part that was overwritten is 10/4/2013, when Taki travelled back to Mitsuha body. Everything else (besides how Mitsuha and Itomori suviverd) will stay the same as we see in the movie.
From character chart Taki is the one who is the shortest of the male casts. It's the reason why he is a fuccboi material.
Mitsuha likes ikemen
Sayaka's way taller than I thought her to be. Also I can't help but feel that Taki's family (or lack thereof) got the short end of the stick in terms of screentime. We know Mitsuha's life like the back of our hands by the end of the movie, but Taki's life still seems a little unexplored.
Though I guess it isn't too important in the long run.
Unaltered: She went to tokyo, met Taki, was a bit brokenhearted when she was a literally who to Taki, left the Ribbon, went home, did the classic female cut-my-hair-short-because-I-want-to-move-on, went to sleep crying
Changes (non fantasy) :Instead of sulking all day and going to the festival in a kimono along with the gang, Mitsuha went to school and made a plan to save the town along with the gang.
Changes (fantasy): In the middle of the heist, she goes to the mountain, experiences Kataware-doki, meets Taki, lovey dovey, gets her ribbon back, "name writing", kataware-doki cut
Changes (altered memory): Still remembering Taki she proceeds with the plan, things go bad and she starts to forget Taki, Sakuga roadkill scene,
I love you, inspiration to proceed with plan and the town is saved
(at this point she can only remember the feeling, and that there's proof that some mystery boy loved her and together they saved the town, but maybe she probably forgot about that too)
They all live and relocate to Urban areas less prone to meteor strikes.
>Director Shinkai, your works include 'Voices of a Distant Star' and '5 Centimetres a Second', etc. where in most of them the separated boy and girl never do end up meeting again. So why the happy ending in 'Your Name'?
>Of course, I think part of me has changed over the years. But I guess the 2011 earthquake was a really big trigger for me. Prior to 2011 we all thought that somehow 'Japanese society would just continue like that without issue'. Of course, our population was dropping and the size of our economy was shrinking etc. and we had the premonition that our society was slowly declining. But we thought that our 'never-changing everyday' would continue evermore without much disruption.
>In order for us to live in such a world, it is important that we are able to derive meaning from our unchanging everyday lives, whether it's a convenience store or being late for a train. I think that is important that from trivial things, we are able to derive the love that enables us to live on, as well as other deeply meaningful things.
>In such a climate, rather than a story like 'If I could just be with first love once more, I would have been happy', I felt that it was essential to depict a story in film where 'Despite losing my first love, I can continue to live on' by extracting meaning from loss as a way of life. However, from 2011 henceforth, I think this assumption fell apart completely.
>A town will not always be a town. It will disappear someday. Exactly as Taki stated in an interview in the film, 'We will never know when Tokyo might just someday disappear'. We live with that sentiment now. As for a story depicting that sentiment, it has to be one where one runs without giving up towards the future, and lives on to the very end. Indeed, I think that compared with prior to 2011, what everyone now seeks and desires has changed.
>specifically regarding the phrase 'live on' - the uncommon terms 生を獲得する・生を掴む have nuances that are a little tricky to translate with brevity. it's not just about survival, but about PROACTIVELY living a meaningful life, like discovering your own way of life, and finding a place where you belong, etc.
>Shinkai uses the former japanese term, and the interviewer the latter (which is a more natural phrasing in my opinion) but given that Shinkai doesn't object, I think it's safe to say that they both mean the same thing in their eyes.
>the contrast that Shinkai draws between the pre-quake and post-quake psyche appears to be, amongst many things, one about passivity versus proactiveness. in the former, it's okay for really bad things (as well as trivially good/bad things) happen to you, as long as you derive meaning from them. in the latter, you need to actively think about others, sympathise with others, empathise with others, help others, do things for others, and constantly strive to make the world a better place, because you never know when the world will end.]
>We know Mitsuha's life like the back of our hands by the end of the movie, but Taki's life still seems a little unexplored.
We see a little bit more of that in manga version. Taki's dad was quite happy with Taki (Mitsuha) called him as "Otou-san" like when he was a cute shota. He is quite pretty chilled.
>Taki's dad was quite happy with Taki (Mitsuha) called him as "Otou-san" like when he was a cute shota. He is quite pretty chilled.
Well that's nice. Good to see that he's a cool guy.
If only. Maybe in some Extended Cut, but I wouldn't count on it.
The visuals in this movie are fantastic.
Sometime I felt sorry for Okudera senpai.
>in the former, it's okay for really bad things (as well as trivially good/bad things) happen to you, as long as you derive meaning from them.
This reminds me of the Fate route for some reason.
It's implied that they'll most likely remember eachother, so it's not so bad.
My headcanon is that eventually they spend a night together and one of them goes outside and it's Kateware-doki and they both start remembering everything when they're out there.
I think people who have never seen Shinkai's previous movie would be confused by their hesitance.
Any healthy, normal, non-Swedish, non-Japanese human being would not find it such a monumental task to say "Hello" to a complete stranger, especially one who seems familiar to the point it brings them to tears.
>Funimation is waiting for that inevitable Oscar Nomination to be announced on January 22 and around that time Valentines day is around the Corner then They will release Your Name as the valentines movie of 2017 for ultimate hype With all the shitty couples and normies and anime enthusiast watch this movie and it goes viral in the US then all other normie countries will follow it.
Funimation is playing all their cards right, When they do get the Oscar Nomination it will be Funimations Check Mate, SASUGA Funimation
And has there been any record of a movie to be re-shown again after it has ended its showing on a country?
>When youre just watching an animay and accidentally find a really really good band
I think it's the main reason the movie's sticking in my mind as much as it is. Pretty much every waking moment, I've had some tune from the OST playing in my head, wherever it's Mitsuha's theme, Return to Goshintai, Evoking Memories, and so on.
It really was scored perfectly.
It's in there.
>Why did they forget each other?
Why did they exchange body?
Why did they fall in "love"?
Why is time distorted?
But most importantly, why the fuck do they have Iphones?
This is a huge forced drama stinking pile of shit and I can't understand for the life of me why you faggots not only eat it with a smile but also have the courage to praise it as the second coming of chirst.
The "writing" gives me second hand embarrassment, there's not even a single original thing in this shit and it's full with all the worst anime tropes.
Fucking kill yourselves for hyping it so much.
>Mitsuha just has an admiration toward Okudera-senpai.
It's more than that. From the LN:
>“Taki-kun. Today was a disaster.” She turned around and looked me straight in the eye as she said that.
>Her long eyelashes, curled up towards the ceiling, her beautiful almond eyes, and her sensual voice that gave me tingles up my back made me instinctively want to confess my love for her then and there. Feeling my cheeks redden, I panicked and lowered my gaze to the floor.
>“Oh, also, you’ve got a surprising amount of feminine charm.”
>My heart leaped. Her smile at that moment, which made me want to immediately offer all of my belongings to her for free, was the most valuable thing I had laid eyes upon today in Tokyo.
And in the note to Taki regarding the date:
>Meet in front of Yotsuya station, 10:30. I want to go, but if it ends up being you, make sure you enjoy it.
>believing in shintoist bullshit
You still believe in Santa Claus by chance?
Love at first sight doesn't exist.
Hell, even love doesn't exist, Pessoa explaines it well.
See this post? >>151971091 This is the perfect example of the people who enjoy this shit.
Unfortunately it's pretty obvious by now what this place has become.
The movie doesn't give a single reason for them to swap bodies. It just happens. At it "just happens" that they fall in love. As it "just happens" that they belong to different timelines. As it "just happens" that they forget about each other.
>inb4 muh leaving the most important thing behind
Exactly, the writer had to make up retarded rules like this out of nothing to be able to create unnecessary drama. Basically the writer didn't care about telling a story, he wanted a vessel for his drama fantasies.
Really embarrassing. Only an ignorant would enjoy this pile of crap. The Garden of Words was much better.
You know, usually I wouldn't care this much but I can't stand all the hype it's receiving here on /a/ of all places or reading about oscar nominations and shit. To think you faggots regularly shit on Ghibli or NGE.
I haven't even watched it yet but I already know the Mappa adaptation of the WWII manga by the author of Town of Evening Calm, Country of Cherry Blossoms is much much better, for example.
This or I feel like I'm getting trolled pretty hard.
That's because Taki memories in his body influenced with Mitsuha feelings.
In few chapters, it will be the explanation of how it works. Mitsuha only realized her true feelings after she made a mistake and about to lost Taki to someone else.
Dammit! DON'T LET TUMBR found it!
>making up retarded rules
sure buddy. whatever floats your boat about fantasies.
how is wanting a vessel for dramatic fantasies any different from telling a story? last time i checked dramatic fantasies are still stories.
That's not how storytelling works. I said he only cares about showing in his usual drama.
Nice projection and grammar.
>judging people by the choices they make in life
Seems pretty fair to me.
What does that have to do with swapping bodies with Taki?
I'm not that retarded, thanks.
You can't even discern when someone is disagreeing or agreeing with you, no wonder you would enjoy crap.
no. Shinkai is a modern artist and told the greatest love story this world has seen for the past 2000 years. no other work can come close. only the japanese could conceive a masterpiece such as this one. in fact, his choice of apple technology only displays his superiority. i mean, you shouldnt get any other phone really, an apple phone has all the power and tools that you will ever need. stylish, too. your name is the best movie i have ever seen in my 2000 years of life. as a flat chested high elf i will not have you talking shit about the best movie of all time.
A country girl falls in love with Tokyo .
Unable to leave her backwater village in the middle of nowhere, she is gifted with by a deus ex machina of swapping body with a boy living in Tokyo. Never minding the strange occurrence, she immediately take control of the boy body, and is overjoyed to find out that she is living and walking around tokyo high rise skyscrapers and scenery.
But, the next day, when she try to recounts her previous day’s dreamlike experience in tokyo, all she found was a scribble of "who are you?" in her notebook. She can only looks at the note with a perplexed expression. After some investigation, she finds out that the boy that wrote that line in her notebook is the same boy that she controlled in Tokyo. In fact, unbeknown to her, the boy is actually living 3years ahead of her. He is the girl’s future counterpart, who has fallen in love with the MC’s past self, who too is blissfully unaware of her current deceased status. .
Hijinks ensue as the two strike up a deal to try to live each other life through all the random body swapping, and to prevent each other from interfering with each other lives. When the girl decided to setup a date for the boy with the perceived crush, DRAMA ensues when they realize that they actually fell in love with each other instead and question the NATURE of LOVE.
Thanks, this was exactly what I needed to disregard every single positive comment about the movie.
You know, I find it hilarious that even though I never liked Shinkai I find myself defending his previous movies when compared to this one. All his previous movies tried to be mature, this one feels like that NGE episode near the end of the series that made fun of the worst anime tropes, the one where Rei runs with a toaster in mouth.
I know perfectly what that is and I recognize it immediatly when I see it.
Pic related is the perfect example. The scene was good, the drama was already all there but this hack of a writer couldn't stop himself from having to make Tenma say this shit only for the sake of forced drama.
I like supernatural stuff a lot.
Not by a direct exposition but I just guess it from the pieces of information I got from the movie.
Maybe your problem is just this movie is below your standard and everyone else hailed it as the masterpiece (in your perspective).
>That was never stated in the movie.
Mitsuha literally screamed that she wanted to be reborn as a hot boy in Tokyo in the first 10mins of the movie. Scene should be right after the saliva sake advert.
And the "original plan" where they dump the miko power in a cave painting for the viewers to know was the most sakuga scene in the movie. There is no way you would miss it if you watched the movie.
I can enjoy shit when it's not pretentious, that's why I never liked Shinkai very much. The Garden of Words wasn't that bad.
I can't stand people prasing it when they've seen 10 anime and are clearly incapable of recognizing good writing and bad writing.
I feel like we've been flooded by mal and reddit users.
If I'm not mistaken that happens later, the movie begins with the first swap. It's only made fro comedic effect.
I didn't miss it but I didn't interpret it like that.
The writing still remains shit and the plot is too dramatic for no real reason.
Poor Shinkai, he turns many senpais to his enemies just because it sells too much.
Your Name was a mistake.
Every single Shinkai movie is full of that.
I'll watch the movie again and I'll take note of every single thing that's bad about it and make a thread with timeline notes and screenshots because this is getting out of control and I won't allow it.
On the other hand, isn't that's quite promising?
Those elites in the industry attacked this work like shit. But the way to actually prove it is to produce better work that sell more, right?
I'm looking forward to 2018 now, it will be a great year of anime.
inb4: normalfags only eat shit
Nigger I don't go to the theater since I'm not retarded. I think the only thing I'll watch in the theater this is year is Blade Runner and I already know I'll regret it.
If I wanna watch something in HD I watch it on my plasma at home without niggers that disturb me all around me. I have the same tv as Daiz, by the way.
No, she didn't.
Enjoy your no blacks, faggot. Go back to your videogames, there are adults who enjoy anime here.
I would have things to say even about the visuals. The movements of the characters didn't feel human, they felt like robots. Try watching it again if you missed it.
Too much CG.
Lolwut. I bought the plasma exactly because I love visual media.
That's why youhave to avoid shitty chinkrip.
Guys, why didn't Taki look at a calendar or know the name of the town he's been basically living in for two weeks? Didn't Mitsuha establish that he was really organized after reading his phone schedule?
What do you want to achieve anyway?
People already judge it and they won't change their mind easily (you included).
But if it can alleviate your stress, feel free to do it.
Anyway, let's all stop taking obvious bait and spend some time appreciating the actual best character.
Why isn't there more art of him?
I mean, he helped to save 500 lives at a pretty big risk to himself, going up against his dad, so he can't be that much of a dick. Although he did fold in the end when he actually got caught.
If anything he seems like a slight jerk with a heart of gold.
Either way, his character kind of stood out to me. I appreciated him being in the film.
Yeah, the scene where he was in his room looking up at the shrine resonated quite a bit with me.
Plus, it was pretty nice to see some acknowledgement that other characters besides the protagonists were dealing with their own issues. Helped to ground it a bit.
That said, I barely remember any defining aspects of Sayaka. Were there even any?
Having wrote that, I kind of like the explanation that it's because they both passed across the "Underworld" threshold and left behind the most important parts of each other: the others' name.
It's nice that the film's theming is so strong that it gets discussion flowing with multiple possibilities, regardless of how likely they actually are.
It's like how the whole thing of Taki's and Mitsuha's worlds/timelines feel like they're lining up, and passing over each other, similar to some kind of once-in-a-lifetime celestial event, and the loss or memory afterwards makes it feel pretty transient.
Or maybe I'm just spouting garbage.
This makes more sense to me, because even though the idea of having to leave each other's names in the underworld is really cool, Taki was already forgetting Mitsuha before he went up there. After he discovered the town was destroyed but before he remembered about the god's body he had already forgotten her name.
Could anyone else not get into the movie because they found it hard to believe that the only thing Taki did when he switched bodies was fondle Mitsuho's breasts instead of going around town and being the town bicycle?
You wake up in the morning and find yourself inside Mitsuha
Because she is a female in Miyamizu family, so she was bound by both the town and the religion. While she is good at it, she doesn't really like those embarrassing ritual.
She just want to be free from those bound.
They WERE looking at the calendar. But they breezed right through it. Both Taki and Mitsuha and the audience didn't notice because we were all caught up in the fact that they switched bodies.
>Taki is a gentleman. He married Mitsuha first before doing the deed.
I don't know if he'd be able to hold in 5 years worth of lust. Even Mitsuha was already crying and all they did was say "Hello" to one another.
Typical Shinkai fan.
Have you taken a look at what oscars have become lately? Wouldn't be so proud,
I bet this won't even get nominated, though.
That quote is fake, genius. And even if it were true it wouldn't have anything to do with the situation.
10=Touyou ("you" is onyomi for leaf while "ha" is kunyomi, but this name sounds more like a guy's name).
It's making-up-for-lost-time sex, which is one of the best there is. And five/eight years of that, no less. There's going to be a new crater where their bed was when they're done.
It must suck to be linked by fate and the strings of destiny to this faggot
I know this is bait, but I'll bite:
>Why did they forget each other?
As clearly stated in the movie, in order to achieve the powers granted by Musubi (in this case: to see each other despite the time difference), they both need to give up the thing dearest to them, which is their names. Hence they forgot each other's names and consequently also all other details of their meetings.
Concerning their dreams, I need to ask you something: do you remember all of your dreams in perfect clarity? Hell, I think that I am gifted simply by the fact that I remember my dreams partly, let alone how it would be to remember every single detail. Though, as the dreams are a recurring event, it is obvious that you at the very least should remember that you met a certain person in their dreams.
>Why did they exchange body?
Musubi (again) and the story of Mitsuha's family that is connected to the appearing comet. If you dislike the fact that this is a supernatural event, then you should not watch a movie that focuses on supernatural things.
>Why did they fall in "love"?
Love is not always explicable. Love is a process that happens unbeknownst to us and true love happens not on the surface, but when we are confronted with the deepest possible insights to the other person's life. And what would be more intimate that exchanging bodies, saving a town together and meeting during supernatural events? And if you say think that this is irrational, then you're totally right as love is irrational and inexplicable sometimes.
>Why is time distorted?
See the picture of the timeline in this thread, you'll get all the explanation there.
>But most importantly, why the fuck do they have Iphones?
Now I would like you to explain where exactly you see forced drama. Do you think that a comet falling down onto the town is forced drama? Because comets sometimes fall down on our earth.
What if the reason a BD release is taking so long is because we can also expect a 4K release of this movie?
>have to choose between waiting 6 months for BD or ruining it for myself by watching a chink 480p hardsub
I've already responded to all that in the chain comments. The writer is the one who made up the Musubi conditions, he did it on purpose in order to create drama, whitout a real reason. This is the only thing I'm gonna respond too here, I'm too tired, for the rest read the chain.
>We never love anyone. What we love is the idea we have of someone. It's our own concept—our own selves—that we love.
I think that it might just be a connection of both. On the one hand, we have the fact that they need to let loose of the thing dearest to them in order to go to the underworld and to save the town. This definitely influences the "big" memory loss.
Though, the time paradox is pretty important as well since the "True End" is defined by a completely new timeline, meaning that the old time chain must have broken.
I felt so uneasy while watching this film, probably because I never experienced genuine love like mc during my school times, and its too late now.
The japs really love OL mitsuha
Mitsuha is pure and is for cute and innocent vanilla love. NOT for lewd.
The Handmaiden by Chan Wook Park. Perfect movie, go watch it now.
Or really anything by Malick. Malick is what Shinkai tries really hard to be but never will.
Try Wong Kar Wai as well if you like Shinkai. Much better.
Damn this movie was beautiful.
>fell for Mitsuha!Taki
That gives me a bad end idea, Mitsuha is stuck as Taki, unable to find Taki!Mitsuha, or communicate with him, then she discovers what happened to her town.
I'd watch it. Taki was able to hold it together, but I'm not sure if Mitsuha would be able to since her life is gone, as well as Taki's who had nothing to do with her. I don't know how she'd react to that.
I watched the chink rip and I just got out of my fucking seat and couldn't watch it for a good while because I was so pissed. It was so fucking heartbreaking to see that shit and it just fills you with so much dread.
I have watched The Handmaiden shithead. It's a great movie, but comparing it to Kimi no Na wa. is stupid when they are completely different movies.
And Terrence Malick? His style of film-making and Shinkai's are nothing alike.
Wong Kar Wai's style is nothing like Shinkai's either.
These are shitty comparisons when Shinkai, Park Chan Wook, Malick, and Wong Kar Wai are nothing alike in terms of their style of filmmaking.
This is shitty Looney Toons logic on both of your parts, and you are both idiots for comparing an apple, an orange, a banana, and a tomato.
They're all completely fucking different so comparing them makes no fucking sense.
Mone Kamishiraishi has an incredibly beautiful voice and great talent.
I'm very happy to see her career taking off thanks to this movie.
It's more about elements and the mood.
You only asked me about a good movie so shut the fuck up, you can't criticize me because the author's style has nothing to do with Shinkai's. I said the Handmaiden simply because it's the last movie I watched that's that good.
No one is comparing those movies.
Do you think it's easy to find a good version of Shinkai on the spot?
Both of those posts are me.
>It's more about elements and the mood.
Which again, are completely fucking different and thus incomparable.
>You only asked me about a good movie so shut the fuck up, you can't criticize me because the author's style has nothing to do with Shinkai's. I said the Handmaiden simply because it's the last movie I watched that's that good.
You know what I meant shithead. If you're gonna name a film and/or filmmaker that you think is better than Shinkai and Kimi no Na wa., then it's at least expected that you choose movies and filmmakers that have a common ball park with Shinkai and Kimi no Na wa.
>No one is comparing those movies.
You yourself said Terrence Malick is "what Shinkai tries really hard to be but never will", and you said "Try Wong Kar Wai if you really like Shinkai", so already you're backpedalling.
>Do you think it's easy to find a good version of Shinkai on the spot?
I'm not asking you to name a filmmaker that's 100% like Shinkai asshole. At least choose filmmakers or films that tackle similar themes, style of filmmaking, and/or other qualities. There has to be a common ground or your comparisons make no fucking sense.
>Both of those posts are me.
Well at least you confess your samefagging.
>Which again, are completely fucking different and thus incomparable.
No, they're not.
Shinkai's narrative primary characteristic I would say is intimacy, a close eye on the feelings of his characters, showing it rather than broadcasting it via dialogue. Malick's narrative is very peculiar, it's more similar to a stream of consciousness rather than a depiction of events and dialogue, which means it's more intimate. They both use visual elements to convey the mood, specifically details.
Now, it's been a long time since I watched a Kar Wai movie, unfortunately, but I can say his movies are filled with feelings of nostalgia and melancholia, in a similar fashion to Shinkai's.
I meant I didn't make a comparison between them, not between them and Shinkai.
Do you even know what samefagging is? I never responded to myself.
Why the namecalling? You seem very upset I called your favourite anime director shit. Which he is, by the way.
Got any movie you've seen recently to recommend? I forgot the last good movie I've seen is Glengarry Glen Ross.
To add to this, I'd save my first experience for the theaters if you know you're going to watch it. I watched the chink rip because I was a little impatient and wanted to watch something, but if I had known I would have waited.
Wrong. Shinkai is primarily inspired by Japanese literature, which he majored in in college. He's heavily inspired by the I-Novel, a genre of Japanese storytelling that focuses on the characters' inner monologue. This inspired Shinkai and authors like Haruki Murakami.
One of Shinkai's trademarks is dual inner monologues of the two main love interests in order to convey their emotions and guide the story.
He's also known for vivid imagery and bright and dynamic coloring of scenery and characters.
Malick and Shinkai may tackle similar themes and rely on visual elements, but they both go about it in very different ways. The biggest being that one specializes in live action while the other specializes in animation.
And yes while Wong Kar Wai's style conveys nostalgia and melancholy, that's still not enough to make a full comparison to Shinkai.
The only live action director that I can think of that's similar to Shinkai is probably Zhang Yimou (Hero, Raise the Red Lantern, House of Flying Daggers) as both are inspired by literature, rely on vivid imagery and coloring, and focus on the emotional and moral dichotomy of characters, but even then that's a stretch.
>I didn't make a comparison between them
>says this after you clearly tried to
Nice backpedalling. And yes I know what samefagging is. Keep your examples in one post next time and if you want to say more, at least indicate that you're adding on to your previous post so as not to come off like a samefag.
And sorry I hurt your feelings with the name calling, but you're a fucking idiot if you think your opinion that Shinkai sucks is an objective fact.
And yes I do. Hacksaw Ridge from Mel Gibson.
>tfw your browser crashes not one but two times while you're replying
>wrong, Shinkai's narrative isn't about intimacy, it only uses inner monologue
>Malick and Shinkai may tackle similar themes and rely on visual elements, but they both go about it in very different ways
I never talked about them having similar themes. I said they both use images, specifically details, to set a mood.
>And yes while Wong Kar Wai's style conveys nostalgia and melancholy, that's still not enough to make a full comparison to Shinkai.
It's enough for me, considering the difference between the media, thank you.
Yeah, Zhang Yimou is similar. Because he's a hack as well compared to directors like Malick or Kar Wai.
There's a connection between Malick and Kar Wai, in their movies there's often if not always a search for something, a longing, the belief of having found it and the loss of it, therefore a melancholic feeling, something else they share with Shinkai.
Is Hacksaw Ridge really worth it, then? Heard good things about it but it's a war movie and I'm not in the mood lately. Anything else?
The only thing more of Kimi no Na wa that I'd like is a short little OVA epilogue with Taki and Mitsuha enjoying married life.
My idea is that it takes place during their honeymoon as they're hiking to the place where Mitsuha's kuchikamisake is. Taki brings his own spit sake there and the two exchange vows by drinking each other's sake and leaving it there.
As they're hiking back to the edge of the mountain, Kataware Doki begins again, and suddenly all their memories of when they were switching bodies comes rushing back.
Overjoyed and more in love with each other than before, they embrace and share a passionate kiss, camera panning to the sunset with Mone Kamishiraishi's cover of Nandemonaiya as it ends.
>wrong, Shinkai's narrative isn't about intimacy, it only uses inner monologue
I never said it wasn't about intimacy. Quit putting words in my mouth.
>I never talked about them having similar themes. I said they both use images, specifically details, to set a mood.
Yes but that's not enough to make a full comparison between Malick and Shinkai.
>It's enough for me, considering the difference between the media, thank you.
Well frankly speaking, that's fucking stupid and narrow-minded.
>Yeah, Zhang Yimou is similar. Because he's a hack as well compared to directors like Malick or Kar Wai.
Oh fuck off with your shitty non-objective opinions. Yimou is one of China's most acclaimed filmmakers of all time. He even directed the fucking opening ceremony of the Beijing Olympics. Eat shit.
>There's a connection between Malick and Kar Wai, in their movies there's often if not always a search for something, a longing, the belief of having found it and the loss of it, therefore a melancholic feeling, something else they share with Shinkai.
Again that's still not enough.
>Is Hacksaw Ridge really worth it, then? Heard good things about it but it's a war movie and I'm not in the mood lately. Anything else?
Yes it is. Arrival is great too.
Me too. To add onto that, it could also show photographs in the credits of Taki and Mitsuha's love life after they first met (reunited) complete with their wedding all their friends and family present.
>I never said it wasn't about intimacy. Quit putting words in my mouth.
Then how is it wrong?
>Yes but that's not enough to make a full comparison between Malick and Shinkai.
Not my intent.
>Well frankly speaking, that's fucking stupid and narrow-minded.
No, it's not, if anything it's the opposite.
>Oh fuck off with your shitty non-objective opinions. Yimou is one of China's most acclaimed filmmakers of all time. He even directed the fucking opening ceremony of the Beijing Olympics. Eat shit.
Trying to back your claims up with too much subjective shit for someone who doesn't believe in objective opinions. We both know those things don't automatically equate with quality.
>Again that's still not enough.
On the contrary, that's what I remember the most about all of them and why I watch their works.
I've watched Arrival and Prisoners to try to understand if Villeneuve can make a decent Blade Runner sequel and go watch it at the theater. They're not bad but they left me nothing.Arrival was more interesting.
I'm in two minds about it. One the one hand, the film's emotionally infiltrated its way into my heart and I want to see Taki and Mitsuha remember everything in a moment of catharsis several years in the making, causing them to fall in love all over again. But on the other hand, I wouldn't want any additions like that to potentially muck up the ending, and I think leaving it open for viewer intepretation is a strong choice.
Goddamn, they deserved better than to miss out on five years with each other.
Well I could image he will do some sort of extension after all the profit this made, an OVA or something. You have a pretty good chance that people will go and buy it so why not take a chance.
It involves less the risk of being not successful with something new.
>Then how is it wrong?
I was saying you were wrong about what Shinkai was influenced by.
>Not my intent.
Then why bring up other filmmakers you think are better than Shinkai in the first place?
>No, it's not, if anything it's the opposite.
It is stupid and narrowminded since you're just cherrypicking similarities rather than making accurate comparisons between two filmmakers.
>Trying to back your claims up with too much subjective shit for someone who doesn't believe in objective opinions. We both know those things don't automatically equate with quality.
Nigga what? Zhang Yimou's movies have received massive acclaim from critics and fans alike, and the opening ceremony of the Beijing Olympics is heavily regarded as the greatest opening ceremony in history. And these are facts. I'd say that definitely speaks volumes of Yimou's quality as an artist.
>On the contrary, that's what I remember the most about all of them and why I watch their works.
Then maybe you should rewatch their movies in order to make more accurate analyses before you convey your opinions based on bits and pieces of what you remember.
Try watching Sicario. It's easily Villeneuve's best film so far.
Yeah, by 3 years, so she's about the same age as Okudera-senpai.
Shinkai have to move on with his project, which will be released in 2019.
Yeah. Legit Christmas cake until Taki eats her.
Because there is other massage that he wanted to convey.
>Mainichi: What things did you pay attention to when creating the script for "your name"?
>Shinkai: I encountered various opinions. Like that I should have depicted more of the moment when the two main characters, Mitsuha and Taki fall in love. But I discarded them. The purpose of the film was not to make things consistent. In that limited time of 107 minutes, I needed to have people coming out of the theaters saying, "That was interesting." I thought I had to make this film by siding with the feelings of Mitsuha and Taki and not letting them go. In the production stage, there was a period when I thought it would be difficult for the film to make it as a story morally and ethically by having Mitsuha act with only Taki in mind. But a sudden move to "social awareness," thinking about everybody, would be strange. Their actions would depart from the motives of teenage love desperately extending a hand in a bid to get to know the other person.
Damn. I want a Christmas cake gf now. Something about it really turns me on.
You mean, the artistic level of Garden of Words?
>Mainichi: Many filmgoers have supported your work, but there were some things you weren't satisfied with, right?
>Shinkai: The manufacturing, such as the technical elements and the color design. There were various reasons I couldn't do things, such as time constraints or a lack of experience compared with the animators who have gone before me. But when looking at the result this time, which shows that the audience numbers have leapt to a level 100 times higher than before, it seems to me that the screen production I'm satisfied with is not really that connected with the audience's satisfaction. At least, I wondered if what is being sought now is a narrative fashion, the tempo of the narrative, and a sense of speed. I still haven't sorted out how I think about the parts I couldn't do well.
I gathered it from various places.
1) In the novel, it was stated that Okudera senpai is in fashion design major.
2) In Q&A movie booklet, Shinkai said, at the ending, Mitsuha works as a cloth designer or patterner with her skills learned from grandma.
If we factor the musubi (people relationship) in, it wouldn't be surprised if Mitsuha and Miki could met again at university or workplace.
I love how humble Shinkai is about his work. As long as he has that same go gettem attitude of constantly trying to improve his craft, I'd say he has a long and fruitful career ahead of him.
I can't wait for the next eyegasm he will deliver. Tbh, the first time I watched this movie, it was the visual that stunned me. I just appreciated the story after I read the novel version.
In my head canon, well yeah, she would, but that would be just déjà vu in her perspective. Taki would be surprised when he know that they're friends.