UlasanAnime.com – As Makoto Shinkai’s latest film, “Weathering With You,” begins its screening in the United States, the spoiler embargo can be lifted. It’s worth noting that after its initial release in Japan on July 19, 2019, and subsequent showings worldwide, American audiences had to wait for its release, receiving little in return for their patience following the film’s unsuccessful Oscar bid. As of late January 2020, the movie has been out for roughly half a year, a period during which Japan has been visited numerous times. This installment from Shinkai continues his characteristic storytelling style.
While Shinkai’s romantic narratives can sometimes feel overly sentimental, they also serve as a comfortable and effective canvas for his stories and ideas to flourish. “Weathering With You” successfully engages the audience in rooting for its protagonists. The supporting cast is vibrant and complements the main characters well. Shinjuku, depicted on a rainy day, becomes even more dynamic with the introduction of rain magic, amplified by Shinkai’s distinctive animation style. The film also incorporates elements of artistic urban decay, a humorous car chase, and Shinkai’s bold decision to depict the destruction of Tokyo.
However, it’s not solely these elements that make Shinkai’s films resonate. “Tenki no Ko” (Weathering With You) occasionally ventures into familiar territory, presenting characters with ambiguous inner conflicts. Much of the viewing experience, however, places the audience outside this comfort zone. The true depth of Hina and Hodaka’s characters and their struggles remains somewhat elusive. Their moral compass is unclear; they are portrayed as innocent young individuals navigating difficult circumstances. We watch them with keen interest, constantly questioning whether things will ultimately turn out for the best.
This brings us to the film’s conclusion, an ending that I personally found compelling. I believe it conveys a message that resonates deeply with the millennial generation, though it admittedly carries a paternalistic tone. Shinkai, in this film, perhaps adopts a more fatherly perspective, though he still trails behind directors like Kamiyama in that regard. Regardless, the core message is that ultimately, the outcome of certain events may not be as significant as it initially appears. The dramatic climax for Hina and Hodaka centers on their struggle to reconcile Hina’s miko magic with their overwhelming problems, particularly the perpetual rain. Yet, the film suggests that even with Tokyo submerged, life continues to move forward. The survival or demise of Hina, in this context, becomes secondary to the fact that Hina and Hodaka lived, and continue to live, as humans do. The visual of a submerged Tokyo serves as a powerful metaphor, tapping into the global warming discourse for thematic empowerment.
I find this to be a particularly relevant message for contemporary audiences. The anxieties and pressures surrounding the future are unlikely to improve future circumstances. Worrying will not extend one’s lifespan. The monumental challenges faced by society, races, or nations can seem overwhelming when viewed from an individual perspective. Progress is achieved through individual right decisions and actions, which are only possible when one’s heart is in the right place.
“Weathering With You” subtly illustrates the distinction between acting out of love and acting out of pressure, anxiety, fear, or stress. The characters embody these different motivations at various points in the narrative. Examples include Suga’s decision to push Hodaka away to protect his legal standing, or even resorting to violence. While “Weathering With You” presents several value statements, it also posits that on a grand scale, humanity’s problems are relatively insignificant. Our daily struggles pale in comparison to massive global shifts, such as the flooding of Tokyo. Yet, amidst these larger events, we can still find joy in the smaller things. Considering the quality of instant meals and convenience store food in Japan, perhaps these “small things” are not so insignificant after all.
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Ultimately, whether Hina can control the weather, Hodaka runs from his problems, or Natsumi assists a juvenile delinquent evade the police becomes less important. The film’s reaffirming message emphasizes the importance of treating each other well, even as the world seems to turn upside down. It suggests a separation of poetic justice from doing the right thing, acknowledging the inherent uncertainty of the future. Isn’t doing the right thing its own reward? In a world seemingly spiraling out of control, it’s refreshing to shed the burden of causality if we wish to encourage the next generation to act virtuously. This generation, comprised of idealistic individuals striving for noble causes rather than engaging in tit-for-tat exchanges, represents the highest good in a world with diminishing opportunities for such pursuits. While previous generations may have faltered, it does not grant subsequent generations license to behave in a particular way. This realization offers freedom, and in Hina’s case, it symbolizes an escape from the tradition of human sacrifice.
After the customary anime trope of Tokyo’s destruction, it’s commendable to see Shinkai execute it with such grandeur. Amidst the “lost generation” and the lingering trauma of the post-war era, one might question the continued relevance of trauma. I believe this is the film’s underlying message, an uplifting push that transcends mere healing.
I am particularly fond of the Japanese title, “Tenki no Ko” (天気の子), which translates to “Child of Weather.” This title mirrors how online users refer to Hina, reflecting her retro-future.io web 2.0 job listing. It also resonates with me because the film is primarily told from the perspective of Hodaka, the male lead, who, in some respects, treats her as just another teenage love interest in a typical Shinkai romance. She is “that girl,” and he is watching the world burn alongside her – a scenario that feels fitting and well-executed.
PS. Speaking of travel to Japan, some of you might have already seen the Science Saru film, “Ride Your Wave,” which is slated for release in the States this February. It’s been available on ANA’s in-flight entertainment systems. This film employs a similar narrative language, making it an interesting comparison to “Weathering With You,” as both are cloaked in a seemingly simple romantic shell.
PPS. The “Tenki no Ko seiyuu_joke” is quite strong.
PPPS. I still need to watch “High School Fleet the Movie.”
