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DHS Posts Video Featuring Song Popular With Nazi Creators

DHS Posts Video Featuring Song Popular With Nazi Creators

The U.S. Department of Homeland Security posted a bizarre new video to social media platforms on Thursday featuring footage of federal agents arresting protesters in Portland, Oregon. The video uses a song that became very popular among Nazis and white supremacists at the tail end of President Donald Trump’s first term, in what appears to be a dog whistle to far-right extremists.

DHS captioned the video, “End of the Dark Age, beginning of the Golden Age,” on sites like X and Instagram, along with a link to the ICE recruitment website. The video was also posted to Bluesky, the social media platform that many federal agencies joined one week ago to troll its more liberal userbase.

The song in the video, MGMT’s “Little Dark Age,” was released in 2018, though it’s been slowed down to an absurd degree. And while nothing in the song suggests sympathy with far-right ideology (quite the opposite, in fact), the song was adopted by far-right content creators in late 2020 to pair with Nazi and white supremacist imagery.

The Institute for Strategic Dialogue, a British think tank that tracks global extremism online, published a study in 2021 that noted how popular the song was with Nazis. One example used in the report shows how the song was paired on TikTok with a slideshow of George Lincoln Rockwell, the founder of the American Nazi Party, who was killed in 1967.

But the report also explains how popular the song has been to promote esoteric Nazism, featuring memes and fictional characters with far-right symbols like the Sonnenrad or Black Sun. The fact that the song is also slowed down in a very exaggerated manner in the DHS video is another hallmark of the far-right videos that went viral in the early 2020s.

Again, nothing about the song makes sense as a ballad for the far-right, as you can see from some of the lyrics, which seem to be criticizing police violence:

Policemen swear to God, love seeping from their gunsI know my friends and I would probably turn and runIf you get out of bed, come find us heading for the bridgeBring a stone, all the rage, my little dark age

The Guardian described the far-right’s affinity for the song in an article from 2024: “Certainly, its adoption doesn’t say much for your average neo-Nazi’s ability to understand English. Little Dark Age’s lyrics are, fairly obviously, an excoriation of Trump-era America and racist police violence.”

Gizmodo reached out to DHS for comment, and the agency was characteristically indignant about our questions.

“Just because you don’t like something doesn’t make it Nazi propaganda—this is bottom barrel ‘journalism.’ MGMT’s ‘Little Dark Age’ is wildly popular on both sides of the political spectrum. Go outside, touch grass, and get a grip,” read an unsigned email, attributed to a “DHS spokesperson.”

The agency also sent a link to a 2022 article in Spin about the song and highlighted a quote from MGMT co-founder Ben Goldwasser that reads, “A lot of times, there is no deeper meaning.” DHS didn’t respond to a follow-up question about who may have created the video.

That kind of response from DHS is to be expected, of course. The far-right often operates in a world of plausible deniability. But since President Trump returned to office in January, DHS has posted a lot of fascist content clearly intended to signal to Americans just how extreme the agency has become.

Back in August, Border Patrol, which is part of DHS, posted a video to Instagram and Facebook with the antisemitic lyrics “Jew me” and “kike me,” which only gained widespread attention last week. Border Patrol removed the video and reuploaded it with new music, but never explained why it was posted in the first place. The agency just sent a statement similar to that of a petulant child.

But people on social media know what the song “Little Dark Age” can mean. One right-wing political commentator on X even had the idea back in July, writing, “DHS should drop a little dark age edit just to fuck with people.” And many far-right accounts on X clearly understood the message that was intended by posting a video with that song.

“Dhs is posting little dark age edits. Crazy timeline on our hands,” wrote one account that features a profile picture of an anime character wearing a Nazi hat.

Another extremist account quote-tweeted the DHS video with, “Good job @DHS! You caught up to were we where 4 years ago!” That account included an upload of another video, which features Adolf Hitler along with the text “12 years not a slave,” and a screenshot from the livestreamed rampage of white supremacist terrorist Brenton Tarrant, who killed 51 people at two mosques in Christchurch, New Zealand, in 2019.

It’s not just the song that DHS has chosen that suggests the agency knows what it’s doing. The imagery in Homeland Security’s “Little Dark Age” edit is pretty haunting, utilizing footage from the protests at an ICE facility in Portland and a glitchy aesthetic that’s so common among so-called fashwave creators. (Yes, the fash stands for fascist.) The video features an “antifa” logo that’s usurped by the DHS logo, as well as clips of agents wearing gas masks while arresting people amid a haze of smoke.

Obviously, when you start talking about obscure corners of the far-right internet while using terms like fashwave it can sound a little silly. These are just internet memes, after all. But there’s a visual language that has developed online among the far-right. And while DHS can insist they didn’t intend for it to be interpreted as Nazi propaganda, there are plenty of literal Nazis online who believe otherwise.



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#DHS #Posts #Video #Featuring #Song #Popular #Nazi #Creators

BGMI Pro Series (BMPS) 2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).

While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.

BGMI International Cup Returns This October

BGMI International Cup Returns To Mumbai & KRAFTON Announces New BMSD Tournament for India
	
After wrapping up the super exciting BGMI Pro Series (BMPS) 2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).



While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.



BGMI International Cup Returns This October







The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.



Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.



BGMI Showdown Schedule:




Week 1 (Promotion & Relegation): September 22–24



Week 2 (Promotion & Relegation): September 25–27



Week 3 (Promotion & Relegation): September 28–30



Upper Bracket Survival: October 1–3



Lower Bracket Survival: October 4–6



Semi Finals: October 8–11



Last Chance: October 12–13



LAN Grand Finals: October 16–18




Speaking about the announcement, Karan Pathak, Associate Director:




Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.






#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI

The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.

Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.

BGMI Showdown Schedule:

  • Week 1 (Promotion & Relegation): September 22–24
  • Week 2 (Promotion & Relegation): September 25–27
  • Week 3 (Promotion & Relegation): September 28–30
  • Upper Bracket Survival: October 1–3
  • Lower Bracket Survival: October 4–6
  • Semi Finals: October 8–11
  • Last Chance: October 12–13
  • LAN Grand Finals: October 16–18

Speaking about the announcement, Karan Pathak, Associate Director:

Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.

#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI">BGMI International Cup Returns To Mumbai & KRAFTON Announces New BMSD Tournament for India
	
After wrapping up the super exciting BGMI Pro Series (BMPS) 2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).



While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.



BGMI International Cup Returns This October







The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.



Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.



BGMI Showdown Schedule:




Week 1 (Promotion & Relegation): September 22–24



Week 2 (Promotion & Relegation): September 25–27



Week 3 (Promotion & Relegation): September 28–30



Upper Bracket Survival: October 1–3



Lower Bracket Survival: October 4–6



Semi Finals: October 8–11



Last Chance: October 12–13



LAN Grand Finals: October 16–18




Speaking about the announcement, Karan Pathak, Associate Director:




Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.






#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI

2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).

While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.

BGMI International Cup Returns This October

BGMI International Cup Returns To Mumbai & KRAFTON Announces New BMSD Tournament for India
	
After wrapping up the super exciting BGMI Pro Series (BMPS) 2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).



While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.



BGMI International Cup Returns This October







The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.



Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.



BGMI Showdown Schedule:




Week 1 (Promotion & Relegation): September 22–24



Week 2 (Promotion & Relegation): September 25–27



Week 3 (Promotion & Relegation): September 28–30



Upper Bracket Survival: October 1–3



Lower Bracket Survival: October 4–6



Semi Finals: October 8–11



Last Chance: October 12–13



LAN Grand Finals: October 16–18




Speaking about the announcement, Karan Pathak, Associate Director:




Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.






#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI

The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.

Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.

BGMI Showdown Schedule:

  • Week 1 (Promotion & Relegation): September 22–24
  • Week 2 (Promotion & Relegation): September 25–27
  • Week 3 (Promotion & Relegation): September 28–30
  • Upper Bracket Survival: October 1–3
  • Lower Bracket Survival: October 4–6
  • Semi Finals: October 8–11
  • Last Chance: October 12–13
  • LAN Grand Finals: October 16–18

Speaking about the announcement, Karan Pathak, Associate Director:

Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.

#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI">BGMI International Cup Returns To Mumbai & KRAFTON Announces New BMSD Tournament for India

After wrapping up the super exciting BGMI Pro Series (BMPS) 2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).

While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.

BGMI International Cup Returns This October

BGMI International Cup Returns To Mumbai & KRAFTON Announces New BMSD Tournament for India
	
After wrapping up the super exciting BGMI Pro Series (BMPS) 2026 a month back, KRAFTON India has revealed what’s next for the country’s competitive BGMI scene. There will be two major tournaments for the second half of the year: the return of the BGMI International Cup (BMIC) and an all-new BGMI Showdown (BMSD).



While BMIC will once again pit India’s best teams against top squads from across Asia, the newly introduced BGMI Showdown is an invite-only championship reserved for the country’s highest-performing teams. Both tournaments will feature a ₹1 crore prize pool.



BGMI International Cup Returns This October







The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.



Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.



BGMI Showdown Schedule:




Week 1 (Promotion & Relegation): September 22–24



Week 2 (Promotion & Relegation): September 25–27



Week 3 (Promotion & Relegation): September 28–30



Upper Bracket Survival: October 1–3



Lower Bracket Survival: October 4–6



Semi Finals: October 8–11



Last Chance: October 12–13



LAN Grand Finals: October 16–18




Speaking about the announcement, Karan Pathak, Associate Director:




Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.






#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI

The second edition of the BGMI International Cup (BMIC) is scheduled to take place from October 30 to November 1 at the Dome, SVP Indoor Stadium in Mumbai. The tournament will feature 16 teams, including six from India, five from South Korea, and five from Japan. They’ll compete for a ₹1 crore prize pool, with the event bringing some of Asia’s strongest BGMI teams to India for the first time. For Indian fans, BMIC will be one of the rare opportunities to watch domestic teams take on international opponents on home soil in front of a live audience.

Alongside BMIC, KRAFTON has also announced the BGMI Showdown (BMSD), a brand-new tournament focused entirely on India’s top-performing teams. Unlike BGIS or BMPS, there won’t be any open qualifiers. Instead, the tournament will feature 48 invited teams, selected based on their performances across the KIE Leaderboard, BGIS, and BMPS. The competition begins on September 22 and will progress through Promotion & Relegation rounds, Survival stages, Semi-Finals, and a Last Chance stage before culminating in the LAN Grand Finals.

BGMI Showdown Schedule:

  • Week 1 (Promotion & Relegation): September 22–24
  • Week 2 (Promotion & Relegation): September 25–27
  • Week 3 (Promotion & Relegation): September 28–30
  • Upper Bracket Survival: October 1–3
  • Lower Bracket Survival: October 4–6
  • Semi Finals: October 8–11
  • Last Chance: October 12–13
  • LAN Grand Finals: October 16–18

Speaking about the announcement, Karan Pathak, Associate Director:

Every season should feel bigger than the last- not just in scale, but in the quality of competition it delivers. That’s what we’ve set out to achieve with this year’s H2 calendar. The BGMI International Cup brings some of Asia’s strongest teams to Mumbai, while the BGMI Showdown rewards the teams that have consistently proved themselves across the season.

#BGMI #International #Cup #Returns #Mumbai #KRAFTON #Announces #BMSD #Tournament #IndiaBGMI
Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress.

Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films.

Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions.

‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film
                Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress. Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films. Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

 [embed]https://www.youtube.com/watch?v=mWGRmtTUkvg[/embed] While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

 As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions. © Madhouse/GKIDS/HBO Max Then something magical happens. In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

 Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever. I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man.  [embed]https://www.youtube.com/watch?v=wfnRYdTpzbs[/embed] Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

 But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke. But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase. Millennium Actress is streaming on HBO Max.  Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.      #Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon
© Madhouse/GKIDS/HBO Max

Then something magical happens.

In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever.

I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man. 

Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke.

But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase.

Millennium Actress is streaming on HBO Max.

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

#Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon">‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film
                Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress. Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films. Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

 [embed]https://www.youtube.com/watch?v=mWGRmtTUkvg[/embed] While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

 As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions. © Madhouse/GKIDS/HBO Max Then something magical happens. In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

 Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever. I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man.  [embed]https://www.youtube.com/watch?v=wfnRYdTpzbs[/embed] Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

 But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke. But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase. Millennium Actress is streaming on HBO Max.  Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.      #Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon

once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress.

Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films.

Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions.

‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film
                Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress. Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films. Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

 [embed]https://www.youtube.com/watch?v=mWGRmtTUkvg[/embed] While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

 As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions. © Madhouse/GKIDS/HBO Max Then something magical happens. In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

 Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever. I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man.  [embed]https://www.youtube.com/watch?v=wfnRYdTpzbs[/embed] Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

 But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke. But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase. Millennium Actress is streaming on HBO Max.  Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.      #Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon
© Madhouse/GKIDS/HBO Max

Then something magical happens.

In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever.

I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man. 

Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke.

But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase.

Millennium Actress is streaming on HBO Max.

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

#Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon">‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film

Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress.

Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films.

Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions.

‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film
                Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress. Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films. Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.

 [embed]https://www.youtube.com/watch?v=mWGRmtTUkvg[/embed] While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.

 As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions. © Madhouse/GKIDS/HBO Max Then something magical happens. In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

 Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever. I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man.  [embed]https://www.youtube.com/watch?v=wfnRYdTpzbs[/embed] Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

 But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke. But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase. Millennium Actress is streaming on HBO Max.  Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.      #Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon
© Madhouse/GKIDS/HBO Max

Then something magical happens.

In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.

Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever.

I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man. 

Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.

But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke.

But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase.

Millennium Actress is streaming on HBO Max.

Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

#Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon

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