The Girl From the Other Side (とつくにの少女, Yutaro Kubo & Satomi Maiya, 2022) [Fantasia 2022]

A kindly exile and lonely little girl find mutual salvation in Yutaro Kubo & Satomi Maiya’s gorgeously animated fairytale, The Girl from the Other Side (とつくにの少女, Totsukuni no Shojo). A poetic mood piece, the film has a painterly feel reminiscent of classic children’s picture books and essentially tells a very simple story about the redemptive power of kindness and acceptance in which two exiles find the strength to begin again taking care of the other in a world of warmth and safety.

Set in an indistinct time period, the film opens with a cohort of soldiers from the Inside dumping bodies in the forest, apparently victims of some kind of curse. Hearing a noise, one turns round explaining that they have to kill them all or their efforts will be meaningless, while mysterious man with goat horns on his head discovers the angelic figure of a little girl, Shiva (Rie Takahashi), fast asleep. Evading the soldier, who is later himself “cursed”, the man takes her home with him but explains that he cannot ever touch her, not even to treat her wounds, lest he infect her with the “curse” though he is not like the other “Outsiders” who spread it deliberately. 

The curse has robbed the man, whom Shiva calls “Teacher” (Jun Fukuyama), of his humanity. He is certain that he was once human and lived a normal life with a wife and child behind the walls of the Inside, but is now a lonely exile who no longer knows his name. He worries that Shiva will be frightened by his appearance and may choose to leave putting herself in danger in the process but Shiva accepts him instantly and quickly settles in to his cottage-style home while experiencing brief nightmares in which she is eventually rescued from her loneliness by the Teacher. But the closer they get, the more Teacher feels guilty convinced that Shiva would be better off in a community with other humans rather than living with him under the danger of inheriting his curse. 

Shiva and Teacher are each in their ways exiles, though there is also something dark in the constant references to Insiders and Outsiders along with the looming threat of the military and their determination to wipe out anything “suspicious” fearful of any kind of contamoination. The Outsiders are those in some way rejected by the mainstream society, many of whom have become dark and marauding, feeding on the souls of others who live outside the walls. Teacher wants to save Shiva from the unbearable loneliness he feels as a cursed man who no longer knows his past and is forbidden from human touch yet in the need to protect her he also discovers a purpose and begins to recover something of his humanity. “She is my light” he later explains to a supernatural force, himself stunned by the realisation that even he could be a light for someone else and discovering in it a new possibility for life. 

There is of course a sadness for the world that’s been lost and can never be regained, but also warmth and tenderness in the simple life of Teacher and the girl as symbolised by smoke rising from their chimney as if the house itself were breathing. As Teacher had said, all things must end in time, but the time is not necessarily now and there is much to be done before it runs out. In Teacher, Shiva finds a place of safety and protection. In her dreams she is rescued by the hands which on waking cannot touch her, while Teacher finds in her a path towards reclaiming his humanity. They may never find their way back to those they’ve lost, but they can now begin again as a new family overcoming their loneliness and despair through mutual compassion. 

Beautifully illustrated with a retro flickering effect and water colour-esque backgrounds, Girl From the Other Side situates itself in a melancholy world in which some are consumed by the curse of their inner darkness and suddenly sprout into huge burnt trees, yet as Shiva says there’s a poignancy even in their destruction noticing that whole communities sprouted together rather than wandering apart. Moving and tender, it reaches a kind of serenity in its final moments in the simple act of living with warmth and possibility. 


The Girl From the Other Side screened as part of this year’s Fantasia International Film Festival.

Original trailer (no subtitles)

Human Lost (人間失格, Fuminori Kizaki, 2019)

Human lost animeOsamu Dazai’s 1948 masterpiece No Longer Human spins a tale of intense alienation in which a young man unable to connect with the world around him feels himself obliged to put on a mask of buffoonery. Years of trying and failing to fit in eventually take their toll. After meeting a man who turns out to be a bad influence in a painting class, he drifts into a life of dissipation and is committed to a mental institution. After his release, the hero reflects on the harm his actions have caused to others and declares that he is “no longer human”, electing to live a life of isolation rather than risk hurting anyone else.

Human Lost (人間失格, Ningen Shikkaku) is about as loose an adaptation as it’s possible to be, taking only the outlines of Dazai’s original and springing off from the midway point in which the protagonist, Yozo Oba (Mamoru Miyano), is living as a starving, drug addicted artist above a seedy bar. The year is Showa 111 (2036). A series of momentous advances have made natural death a thing of the past and thanks to the S.H.E.L.L. system suffering from disease has been eliminated. However, the future has not been equally distributed and while a cohort of increasingly elderly men and women rule the elite “Inside” as a kind of oligarchy, an oppressed underclass has formed on the outskirts of the city, their “immortal” bodies continually exploited in order to prop up the Inside economy but forever denied the full benefits of system they are prevented from accessing in its entirety.

Meanwhile, those who wilfully disconnect descend into a kind of monstrous barbarity becoming what is known as a “Lost”, a threat to “civilisation” which much be combatted by H.I.L.A.M. – a military organisation which exists to ensure the survival of the S.H.E.L.L. system. When Oba is dragged along by his childhood friend Takeichi (Jun Fukuyama) on a revolutionary raid instigated by the mysterious Masao (Takahiro Sakurai) targeting the Inside, he comes into contact with Yoshiko (Kana Hanazawa) – a young woman who deeply believes in the benefits and possibilities of the S.H.E.L.L. system, convinced that a utopian world in which its benefits are available to all will eventually come to pass.

What ensues is a battle between Yoshiko’s pure hearted idealism, Oba’s despair-fuelled cynicism, and Masao’s embittered nihilism in which he seeks to destroy the S.H.E.L.L. system and “reset” humanity to its original condition. Masao believes that humans need death in order to be human and that its absence from the modern world is an aberration which must be corrected at all costs. He encourages Oba and Takeichi to “take back” their “true form” as a revolutionary act designed to provoke the advent of a saviour who can help him destroy a system he himself created out of love but which later failed him. 

In an ageing society such as Japan’s, it’s impossible to ignore the subtext of a world in which the elderly cling on to power well beyond their right and relegate the young and healthy to a kind of underclass as a consequence. While some humans are “qualified” and afforded special rights, others are labeled as “unqualified” and exist in a kind of underworld locked out from the benefits of a modern society. As Masao points out, those who call themselves “happy” largely do so because of the S.H.E.L.L. system’s programming, while the only truly “free” are those like Oba and Takeichi who wilfully reject it and live a life of suffering.

Of course, Masao exploits them too. He brands Oba his Orpheus, but ironically forgets that the thing everyone knows about Orpheus is that his faith was weak and so he looked back and lost. Yoshiko sacrifices herself for Oba’s potential, further adding to Masao’s awkward metaphor as he declares that “the fate of this woman is to be used”, pushing Oba towards dragging her back from the hell they maybe creating together. Unlike Dazai’s original novel in which the hero is consumed by his sense of otherness and opts for self-exile, Human Lost finds a more positive solution in which Oba commits himself to fighting for Yoshiko’s better world where health and happiness are gifts given to all and not just a privileged few. A mild critique of a hierarchical, inherently unequal society Human Lost makes a passionate plea for idealistic utopianism over introverted despair while suggesting that technological advances set us free only when we share them freely.


Human Lost screens in select US cinemas on Oct. 22 (subtitled) and 23 (dubbed), and in Canada on Nov. 6 (subtitled) and 9 (dubbed) courtesy of Funimation. Check the official website to find out where it’s playing near you!

Original trailer (English subtitles)