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#Im so normal about this movie
azumasoroshi · 1 year
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suzume no tojimari spoilers ! hi guys im Insane
literature analysis brain is going haywire so here’s a bunch of incoherent ramblings some themes motifs and symbolism i love in this movie because AAAAAAA
Love and Sacrifice.
Obviously, but like the different kinds of love and devotion and how they’re never perfect and sometimes self-destructive but they’re so powerful and just waughhh. It was so important to me how after exploding at her Tamaki (suzume’s aunt, ik im not the only one who forgets names) was like “you know I don’t feel that way all the time, right?” like not denying that yes, she has felt exhausted of taking care of Suzume and sometimes wished she didn’t have to take care of her, trying to be the parental figure she needs while also trying to not encroach on her sister’s memory. It means so much to me that she didn’t deny those feelings but instead told Suzume that it’s not how she always feels, because loving someone means sacrifice and ewughghgghfgfh im not putting this into words well but htrggfhgf.
and ALSO the reciprocation of kindness with daijin - as thanks for the taste of freedom at last, and wanting to be with someone whom you love but not really comprehending that what they want (that “suzume doesn’t love me” killed me) and how by the end daijin helped her pull souta out and sacrificed himself for suzume because he really loved her ggrgfggfhfnfnch
And just. everyday love. This is kind of a mix of themes and motifs but every time we flashed back to the memories of whatever abandoned place they were in - the simple “good morning”s and “be back soon” and “it’s so hot”s made me choke up. the mundane love of Chika and Suzume in their newly found friendship, Rumi’s kindness in picking Suzume up off the street and her love for her children, Serizawa’s platonic love for Souta letting him drive these two crazy women with crazy beef for 7 hours across Japan, there’s just so much expression of love and the hardships people go through because of it and rhgrjgrjhgdhgjhb
Mourning and Closure.
Makoto Shinkai himseld said that he wanted to write a story about “mourning deserted places” (at least according to Wikipedia) so this one is all but textual but like yeah. the motif of opening/closing/locking doors and locking the bike and things like that? AaAAaAaa
To close the gates, you need to imagine the emotions of people who once lived there - i can only imagine what Souta was thinking in the abandoned bathhouse area, but hrhggejghw the school and the amusement park and the shots we got of normal life in tokyo before the worm revealed itself in the climax, it just. really speaks to the beauty of everyday life. im a sucker for that kind of stuff as both a psychology major and just a weird person who thinks “man i wonder what happened to this person for the past 22 years of their life that led them to be here with me in this moment” whenever i pass someone in the grocery store. Hodaka could let japan be flooded in weathering with you because of his love for hina, but suzume’s whole arc was learning about the common people and living their lives and embracing all the kindness they had to offer to herself and others and it really hits that like. of course she can’t just let tokyo get destroyed to save Souta, every person in all of tokyo is just like Rumi and Chika and Serizawa and they’re all people who love and are loved. She finds herself in Souta’s place as one who stretches himself thin between being a gate closer and studying to be a teacher because he loves life as well, and-
oops i forgot i was talking about mourning and closure
anyway the doors keep getting reopened because the grief never fully goes away and the worm of “calamity” is letting yourself be consumed by the grief and destroying the people around you and not being able to move on, and it comes from the Ever-after becomes ever-after is a place where time doesn’t exist and you wish you could be there forever because it’s where you can relive the events of your past, it’s where you can live in denial that time moves forward and you have to move with it, it’s where Suzume goes after her mother dies because she wants people to stop giving her condolences and just give her her mom back. “Ever-after” in itself is a “happily ever after” - a place where mortals aren’t meant to go, no matter how beautiful it looks. Souta goes there too because he is the catalyst Suzume needs to go back and face Ever-after - and it’s no longer beautiful, but it’s torn apart by grief and everything is in flames. The idea of a keystone as well, locking the memories and hurt away, is one that Suzume removes to relive her memories and puts back in place when she’s ready to move on. htrhgfhgfghfghf. she won’t let souta be the keystone because she refuses to move on without him.
Also both Souta and his grandfather tell Suzume to just forget everything she’s seen, but it’s too late for that because connections aren’t so easily forgotten. Even when Tamaki couldn’t remember telling Suzume she’d be her new mother, that doesn’t change that she cared for her for the next 12 years anyway. Suzume visits Chika and Rumi by the end, and obviously she’s never forgotten her mother, both because her chair was still in her room by the start of the movie and because she looks like her by the end. Even though relationships change, they’re never forgotten in the movie, and I think that’s beautiful, really.
(also cool detail: 12 years ago is when the tsunami that killed suzume’s mother struck. the movie came out in 2023, and the touhoku earthquake/tsunami that inspired this film was in 2011. nice)
Reality vs Fantasy
The scenes where Suzume goes out into public again following stopping the worm from destroying Tokyo were especially poignant to me. This girl’s been going on a fantastical adventure with her talking chair and talking cat, meeting nice people and making friends, excited at the idea that she’s doing something important, but after Souta’s gone she shuts down. Her feet are bloodied, her clothes are destroyed, and people keep giving her strange looks and calling her homeless because she may have stopped the worm but even without being consumed by grief, it still isn’t pretty or picturesque. Standing out in Japanese society is discouraged, as most of us are well aware, but she’s been doing nothing but that with all the running around and talking to chairs and flying through the sky she’s been doing. Without a concrete goal in mind, without Souta as company, she’s alone in the world of adulthood and has no one to tell her what she should do, no Souta to guide her through Tokyo. And without that confidence or charm, people don’t come to her aid like they did before. It’s only once she finds her resolve to save Souta, quite literally walking in his shoes/footsteps, that the next helpful stranger (Serizawa) comes in.
She could imagine those abandoned places as alive, but the truth is that they were abandoned and will stay that way - none of them miraculously revived by the end, unless something happened in the credits that I couldn’t see through all my tears. Reality will not bring those places back, but what really matters is how we carry the memories of those places with us? I think. man maybe it’d be easier to write this post if i had actually seen the end credits
this post is really fucking long so im calling it here 😭 makoto shinkai has done it again. goddammit
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cardinal-crossing · 5 months
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More Polar Express doodles! I've left some notes under the cut if you would like to read, it's mostly notes about the story of the Polar Express and how these two fit in, but nothing extensive. (Probably for the best, I don't think it would be coherent if I went any further.)
ALSO POLAR EXPRESS SPOILERS BELOW!!
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All right, I have some thoughts about this movie. I enjoyed watching it for the first time and got so excited that I watched the film again. While watching, I immediately picked out characters to put the subway twins as because I am so normal, and here is a little explanation. To start, in my head, all the characters that run the train are spirits or ghosts, much like how the Hobo is portrayed. While the other characters are not as prominent, there are a few hints here and there that point to such. For example, in the Glaciar Glutch scene, the conductor doesn't wrap the safety belt around himself; he only wraps it around the two kids. That at least points to the fact that he may be a spirit, as he doesn't have as much care for his person. Furthermore, he is on a magic train and has been doing it for years; he's a spirit. I'm sorry, but he is. So I chose Ingo as the conductor because, in the movie, the conductor rarely smiles; he also cares a lot about the kids, as shown by his body language. Also, in my mind, the conductor was very hard to read, but that may also be caused by the fact that the expressions were very realistic in this movie (I suspect motion capture), and I have a hard time reading facial expressions. Now, Emmet is the funnier one. I chose Emmet as the Hobo because of my personal headcanon that Emmet has the crazy uncle energy rather than the more fatherly energy. The Hobo within the movie also smiles a lot, almost constantly, and is just generally chaotic. Instead of outwardly telling the kids what to do and what not to do, he instead scares the crap out of them to teach them a lesson and further their adventure throughout the movie. He also only chooses to help in the most dire of times and in the most ridiculous way possible; think of skiing on the top of the train and tapping the emergency brake on the caboose. He makes a pun instead of just telling the main character that there is a brake, and then he poofs back out of existence. Also, the conductor clearly knows that the Hobo exists, as he alludes to it in the movie when the main character asks what the man who saved the conductor looked like. The conductor only responded, "Seeing is believing, but sometimes the most real things in the world are the things we can't see." That has been my ramble, and I apologize if none of this made sense; I've been up since four this morning running off of straight caffeine, and I've been all over the place.
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kaeladrawsstuff · 1 year
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hello the lovers fandom. today i offer you my version of a dead meme ♥️
The Lovers is a short animated film by Studio Heartbreak! It's a wlw story abt a seafood chef and a siren, and it's set in the Philippines!!! isnt that so cool!! its still in the works, and i am very much looking forward to its release :3
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opal-inna · 2 months
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I was thinking of Megamind’s theme of heroes being made instead of born and the parallels between Megamind and Hal.
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You can see how Megamind is trying his best, but Metroman is more privileged, so Megamind gives up. He had always had bad luck, compared to Metroman, so he thought it was his destiny to be a villain. So when Hal seemingly has everything delivered to his doorstep, it’s destiny that wanted this to happen. Megamind believes that it’s up to forces greater than him that make heroes or villains. And Hal had all the gifts Megamind hadn’t, and he chose to use them for evil.
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But then I looked deeper into it. I compared Hal with Megamind. Both of them were social outcasts. Both of them were nerds. Both of them were in love with Roxanne. Both of them were rejected by her. And both turned to villainy when things didn’t go as they had hoped. In a dark twist of fate, one could recite the famous cliche  “we’re not so different, you and I!”.
But obviously, they are so different. So what sets them apart?
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Both of them wanted approval, but Megamind seeked acceptance from society and Hal sought to win love from another person. Both of them had a skewed idea of how human relationships work and both tried to follow in Metroman’s footsteps to get there.
But obviously, they failed. Because it’s not how it works. Again, they’re similar in this department.
And then it hit me.
Both of them tried to imitate Metroman to gain something- gain approval in their example. But you can’t just win someone’s approval, it’s up for them to decide whether they give it to you or not. And you may only get it by being genuinely good yourself. Even if both chose villainy, time and time again, Megamind proved himself to be good and Hal proved himself to be evil.
Here’s what I found so far.
Hard work
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Megamind had worked hard and it gave him no results, so he thought it was meant to be. He put a lot of effort into creating devices that were supposed to imitate Metroman’s powers. Hal had everything given to him, which made him feel entitled to everything he desired. 
Humility
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Both of them had been rejected and degraded. But Megamind had enough humility to reflect on himself. He didn’t blame Roxanne for rejecting him (albeit the scene where she tells him to apologize and Megamind misunderstands and turns it around is hilarious). Rather, he blamed his status as a villain. Though he didn’t blame his choice to become a villain, but his destiny to be one- “Villains don’t get the girl”. However, Hal had an advantage of a status of a ‘hero’- one given to him, not the one he chose. He feels entitled to her love, so when she turns him down, he blames her. He played his part of being a ‘hero’, but she didn’t play her part of being a prize. She broke the rules.
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Megamind had also reflected on what Roxanne told him. He corrected his mistakes, cleaned up the city and returned what he stole. He didn't have to, but he did it to make her happy and made an effort to be actually good.
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And Hal has been actively gaslighting and lessening her, just to protect his ego.
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Relationship with Roxanne
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Obviously, I also had to include their relationship with Roxanne, and oh boy.
I know I’ve talked about it for the entire time, but I need to go in depth, because it’s a whole thing. Bcos Hal didn’t just have had his powers handed to him. He was also privileged even when it comes to their relationship with Roxanne. Hal had lots of time to form a real connection and friendship with her, but he chose to treat her like a prize he could win if he played the game right.
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Megamind was doomed from the start, because he’s a villain. Yet when given a chance, he showed her his true self, became vulnerable with her and they shared each other’s nerdy passions. Though under another person’s skin, he showed her his soul and they formed a genuine bond. Megamind proved to be a better person, because he showed her true respect, valued her for her positive traits and just treated her as a person. 
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marsmalades · 9 months
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then you never really knew me at all
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not-logan-paul · 1 year
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THIS MOVIE
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HIM
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this is so embarrassing my god
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em-bandaid-boy · 11 months
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My beloved ♥️
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caffeinatedhobbit · 8 months
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guy who starts crying every time he thinks about Whitney Houston and Brandy singing “It’s Possible” in Cinderella (1997)
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rachelcommitscrimes · 7 months
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HAJAKAKFJMXNAJEIEISJFAjusjdkfkfkfjc mhm jhh gm ztztzyk. hxhb$:7.&”@.:9.0nxjooiidh
SAW X SAW X SAW X SAW X SAW X
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blubun0309 · 1 year
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Who is your favorite fearless hero~
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Silly little meow meow
I know I'm late to the party BUT WHO CARES PUSS IN BOOTS ART WOOOO
(I suck at drawing animals R.I.P)
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burnt-squid · 10 months
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the atsv soundtrack drove me insane
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the only thing in my head rn is barbie and i am hunting down all content for it ravenously but my god i better see alllll the transmasc Ken content or im gunna go feral hes me frfr and if i dont see it flood in soon ill wither and die
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friendrat · 1 year
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My Bean singing about standing all alone like he's been alone for the majority of the movie, and his voice is sort of shaking, and then his double take when the first voice that joins him is Lugsy, who spent the first half of the movie openly antagonizing him... and then his voice suddenly gets stronger, and it stops shaking.... I just... I can't even put it into words.
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stil-lindigo · 11 months
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hobie motherfuckin' brown!!!!!!
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freitag1607 · 4 months
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1.05 / Battle of the Labyrinth
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