Mirai

Kon Ichikawa's 1962 film "Watashi wa nisai" was translated to "Being Two Isn't Easy" for English-speaking audiences. Without seeing it, you get a fair idea of what the film is about from the title alone. Mamoru Hosoda's "Mirai" (or "future") isn't quite such an obvious title, though naming it "Being Four and Becoming a Big Brother Isn't Easy" wouldn't quite give the game away either.

A semi-autobiographical work, Mamoru Hosoda's film tells of learning patience and perspective in a film that is both close to reality and fantastical. These switches can perhaps annoy, but anyone living with a toddler will be able to sympathise to some extent, but your overall reaction to "Mirai" might be dependent on your life situation, and indeed, like a two year-old, your current mood.

Four year-old Kun's parents have just had a second baby: daughter Mirai. This new addition angers Kun, no longer the sweet little one of the household, able to walk and talk, he is not given the attention he is used to. Fighting his parents, he also tries to fight his little sister.

Frequently left frustrated, whenever passing the oak tree in his architect father's quirkily-designed house, in true "Christmas Carol" tradition, he meets a spirit that gives him a life lesson. Their pet dog as a prince, felt abandoned since Kun was born; a teenage Mirai letting him know her feelings as to his behaviour towards her; his mother at his age - not the strict disciplinarian she has become; and his great grandfather who teaches him to be brave.

Switching between the household base and the various scenarios in time, Kun is not quick to learn from his family members' teachings. But, as for any toddler, it takes time and reinforcement for him to finally realise Mirai as his little sister and see himself as the big brother he is needed to be.

As the film's opening shows, this is a film of exquisite detail and has been carefully considered. The detail in the animation is rich, giving "Mirai" an almost 3D feel. The character movements and mannerisms are well thought-out and realistic and recall the opening moments of a Studio Ghibli film.

To some extent, the reality of the scenario also has this same level of due care and attention, reflecting Hosoda's own life experience as a father to an older son and younger daughter. One cannot help but relate to the mother and father's predicament: the father taking on the parenting while working from home while the mother goes back to work. This is designed so that each character can see the world from the perspective of the others. The father is now a "better dad" compared to his involvement in raising Kun, being at home all day and having to take on more responsibility. Kun is not the only one who has to see things from the viewpoint of another. And a few parents in the audience might agree.

However, as the parents do not get as much airtime as Kun, their scenario isn't fully developed enough to make this a film aimed at adults struggling to raise young children. While one can relate to the struggles, the realism is more in Kun's mannerisms and behaviour, rather than the film's story and conclusions. The parents' dialogue can perhaps be a little too open, direct and articulate to accurately reflect the struggle. And for some, the revelations may seem obvious for the amount of  struggle to get there, but so much in life is, until taking a step back.

Like a toddler's mood and behaviour, the film switches continuously. The changes to the future and past selves can make this more a collection of life lessons for Kun, rather than a complete whole. But each day comes with its own challenges and having to start again from scratch. As such, "Mirai" doesn't drag on or bore.

The more fantastical elements might be a little difficult for some to take, myself included (and why I do not watch as much anime as I could - in fact, this is a film I might normally avoid). These can somewhat detract from the realism approach in the present day scenario, though his meeting with his younger mother leads to some of the strongest visual elements of the film.

The ending, however, feels a little too far into the fantastical. With the film's strengths more in the subtle nuances of Kun's behaviour, the ending feels a bit more blatant in its delivery of fear factor and can feel a little disappointing, and more in-line with more young adult-aimed anime. Having a hint of "Spirited Away" in its conclusion, the ending could have perhaps been more refined.

But with both good and bad elements, "Mirai" is very much like a child. Parents will be able to relate to Kun's difficult behaviour and frustration, and this may give it enough to overlook the weaker points, as they would their own children. Without this standpoint however, "Mirai" might not have the same effect and feel like a lot of bumpy emotion rather avoided.

Essentially, being four and becoming a big brother isn't easy, and watching it isn't either, and your response might be down to your level of patience and perspective.