HannahFantasia

Sat next to the director himself while watching it at Annecy 2022. INU-OH is an absolute masterpiece on it's own. While Yuasa is becoming more orthodox with his art style which does not bother me but leaves me with an odd aftertaste, it does not take away the fact that he can still make fantastic movies. What really helps to watch this film is to absolutely not watch it at home on a laptop if you have the means not to! It is a musical, a concert and theater show at once. The totals, medium close ups and visual effects are deliberately chosen to compliment that styleof storytelling. INU-OH is an absolutely progressive film with two characters going through their mental and physical transition. Choosing between what is right and what is wrong. A big 10 for sure. Again, watch it in a cinema, your laptop or TV will not hold up to a true festival film.

Turtles_cute

Bear with me, for this is my first review on this website, but more importantly, this is the first anime for which I feel the need to write one. Inu-Ou is a musical in the truest sense of the word, in that it presents almost all of its story beats through the art of music. A fantastic musical at that, as the use of the biwa in the film alongside some other instruments as well as their melding with modern music left me in awe, as I am a person who is not particularly interested in music. The music is magisterial, commanding the progression of thestory every time it swells and falls. Speaking of stories, Inu-Ou tells three in its runtime of an hour and a half and some odd minutes. It is hard to follow, and the film moves at breakneck speed without any regard for the viewer's convenience, with much being left up to the watcher to infer at certain times. The three tales are those of the Heike clan (for context, I would HIGHLY recommend watching 'The Heike Story', also from studio Science Saru), of Tomona, and of Inu-Ou himself. One might think that all this would jumble up the themes and make the entire ordeal seem muddy in its message, however, I argue that these three storylines are intrinsically connected to one another, and exploring one leads to the natural exploration of the other in the film. Without spoiling much, I believe the film succeeds entirely in portraying themes of historical reclamation, rejection of that which is new, greed, as well as, believe it or not, the power of friendship. It explores successfully the treatment of an outsider and the power of a name. Alongside being masterful in its storytelling, Inu-Ou looks fantastic. Although not as grand as theatrical productions from the likes of Kyoto Animations or the films of Makoto Shinkai, the studio has made a film which makes brilliant use of camera angles, tight editing, and a sort of look that just perfectly fits it (I don't know how to explain it, not that experienced with techniques of animation and stuff) to make a movie that is just as beautiful to look at as it is to listen to. I admit that this film is a challenging watch, and requires some prior knowledge of Japanese history. However, to readers who are willing to overlook some minor problems with a small lack of character development (the movie does the best it can in its short runtime) and the apprehension it requires, you will be met with an experience worth remembering.