By Jasper Sharp.
At the end of February, the National Film Center of Tokyo opened its ‘Japanese Animated Film Classics’ online archive to celebrate this year’s centenary of Japanese animation. The site, which features 64 films from the pre-war and wartime period, features many films with English subtitles.
It is a wonderful initiative from the NFC, which has so far lagged a little behind other national film organisations (notably the Korean Film Archive) in making their holdings available to the general public. Many of these films have been shown before, notably with a touring programme that travelled to many international film festivals in the early part of the millennium (I saw quite a few at Puchon in South Korea in 2003) and a rather pricy DVD collection released in Japan back in 2007. Now, however, what with the opening last year of the ‘Gakken Art Animation’ online archive of stop-motion works from the 1950s and 1960s, there is a sizeable body of work accessible to anyone with a screen and an internet connection, and an unprecedented opportunity to explore the evolution of Japanese animation in the first half century before it became the anime we know and love. Continue Reading
By Roxy Simons.
In a similar fashion to Nicolas Winding Refn’s Drive, it’s the violence that does most of the talking in Tetsuya Mariko’s Destruction Babies. With no clearly defined narrative, the film goes from one fight to the next, with each proving to be more aggressive than the last. It gives the film a raw and gritty undertone, one that presents a nihilistic depiction of Japanese youth and, paired well with realistic sound design that makes each punch seem palpable. Continue Reading
By Jonathan Clements.
“When you love film,” writes Jon Spira in his Kickstarted book Videosyncratic, “it doesn’t just transport you to another world. It transports you back to where you were, who you were, when you first saw it. Hours sat with friends now missing or lost. Sunday afternoons on the sofa with your family. Youthful fumblings with girls in cinemas. Heated debates with friends in pubs which no longer exist. You remember the awe of your first Kubrick film. The delight of your first Ghibli experience. The uncontrollable giggles of your first Monty Python flick.”
I am already encountering students and researchers with no memories of the media of the 20th century, who never had to fast-forward through a Simon Bates warning; who can pause and rewatch with pinpoint accuracy; who do not appreciate the concept of waiting, of not bingeing. They need to read this book. Continue Reading
We know many of you out there have a lot of love for the classic series and were delighted when we announced we would be bringing that classic series to Blu-ray in the future. Our plan to release the series is still very much in the works behind-the-scenes here at AllTheAnime HQ, we still can't share detail on what you can expect yet as we're still signing off on what we have planned.
But, today we can tell you some other brand new news relating to Eureka Seven and it being in the UK. For those of you not aware, this past week at the Anime Boston in event in North America, Studio Bones announced a new 3-part movie project called Eureka Seven: Hi-Evolution is in the works, with the first film due in Japan later this year.
Today we are delighted to announce that we will be bringing each of those films to cinemas in the United Kingdom and Ireland. Though were still working to finalise details, there will a screening in the UK as close to the Japanese release as possible and then there will be screenings held across UK & Ireland during the first quarter in 2018.
We know a lot of you will want to know more details about this, however there are literally no more details to share at this time. But please know these films are coming to cinemas!
You can watch a Japanese promotional video for the Eureka Seven: Hi-Evolution project, and read the official press release from Bandai Visual below.
THE NEW PROJECT OF EUREKA SEVEN IS NOW ON THE HORIZON!
Tokyo, Japan, April 1, 2017 – Bandai Visual Co., Ltd., a leader in the development and production of Japanese animation, announced today at Anime Boston, the largest anime convention in the Northeast United States, that the newest project of the Eureka Seven franchise is now under production. This new project, in conjunction with animation studio BONES, is the 3-part movie entitled “Eureka Seven: Hi-Evolution”
It has been almost 12 years since the original TV series came out. The new movie will capture the story of Eureka and Renton. At Anime Boston, Chief Producer Masahiko Minami of the project (also the President of animation studio BONES), announced that Part 1 of the trilogy will be released in theaters this coming fall 2017 in Japan. Part 2 and Part 3 will be released in 2018 and 2019, respectively. Overseas releases in territories such as US, Australia, UK, France, Singapore, Malaysia, Indonesia and Thailand are also planned. Also during the panel, Minami showed new setting and character art featuring Hammer Head, Devil Fish, Eureka, Adrock, and Nirvash. Further details regarding “Eureka Seven: Hi Evolution” will be announced shortly.
Ten years ago, the major earth-shaking “First Summer of Love” event occurred. Renton, who lost his father during the event, now attends the army school of the United Federation of Predgio Towers located in the border town of Bellforest. Because his late father is still praised, Renton feels something is lacking as he continues with his ordinary, boring days. Then one day, Nirvash, the world’s oldest LFO, appears in front of him and a girl named Eureka emerges from the cockpit. This was the beginning of the future of humans and Scub Coral, another intelligent lifeform.
Masahiko Minami at Anime Boston Was this encounter all just a coincidence? Or was it fate? Where will Renton and Eureka’s journey end?
About Bandai Visual Co., Ltd.
Bandai Visual Co., Ltd., founded in August 1983, is a Japanese company that develops, produces and distributes film, TV and home entertainment media. As a pioneer of the Japanese animation scene Bandai Visual has consistently held the top-class market share in the genre and continues to lead the market. Bandai Visual has also proven its expertise in creating and delivering quality home entertainment media packaging in Japan. Using such key strategies, Bandai Visual hopes to expand and emulate its success in North American and other international markets. Bandai Visual Co., Ltd. is a wholly-owned subsidiary of Namco Bandai Holdings.
By Andrew Osmond.
It’s not unknown for live-action films to have “companion” films in animation, usually made as spin-offs. The classic case is The Animatrix, a Japanese-Korean anthology made to tie in with The Matrix Reloaded, and the better of the two. Another anime anthology, Batman: Gotham Knight was theoretically tied in with The Dark Knight, though the in-film connections were unconvincing. A third case was Tales of the Black Freighter, cartooning the comic-in-a-comic in Alan Moore’s Watchmen. It was effectively a long deleted scene from Zack Snyder’s Watchmen movie.
On the face of it, Seoul Station is that kind of thing – an animated companion piece to Train to Busan, last year’s horror-action epic about a train plunging through hordes of zombies in South Korea. One surprise, though, is that director Yeon Sang-ho made both films back-to-back, and he made most of Seoul Station first. There’s a greater surprise, though, for anyone who boggled at the speed and dynamism of Train to Busan. Yeon’s pre-Busan career was not in live-action, but in animation. Continue Reading