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Everything Is Content for the ‘Clicktatorship’

Everything Is Content for the ‘Clicktatorship’

In President Donald Trump’s second term, everything is content. Videos of immigration raids are shared widely on X by the Department of Homeland Security (DHS), conspiracy theories dictate policy, and prominent right-wing podcasters and influencers have occupied high-level government roles. The second Trump administration is, to put it bluntly, very online.

Trump and his supporters have long trafficked in—and benefited from—misinformation and conspiracy theories, leveraging them to build visibility on social media platforms and set the tone of national conversations. During his first term, Trump was famous for announcing the administration’s positions and priorities via tweet. In the years since, social media platforms have become friendlier environments for conspiracy theories and those who promote them, helping them spread more widely. Trump’s playbook has adjusted accordingly.

Don Moynihan, a professor of public policy at the University of Michigan, says that social media, particularly right-wing social media ecosystems, are no longer just a way for Trump to control conversations and public perception. The administration, he says, is now actively making decisions and shaping policy based primarily on how they’ll be perceived online. Their priority is what right-wing communities care about—regardless of whether it’s real.

WIRED spoke to Moynihan, who argues that the US has entered a new level of enmeshment between the internet and politics, in what he calls a “clicktatorship.”

This conversation has been edited for length and clarity.

WIRED: To start us off, what is the “clicktatorship”?

Don Moynihan: A “clicktatorship” is a form of government that combines a social media worldview with authoritarian tendencies. This implies that people working in this form of government are not just using online platforms as a mode of communication, but that their beliefs, judgment, and decisionmaking reflect, are influenced by, and are directly responsive to the online world to an extreme degree. The “clicktatorship” views everything as content, including basic policy decisions and implementation practices.

The supply of a platform that encourages right-wing conspiracies and the demand of an administration for people who can traffic in those conspiracies is what’s giving us the current moments of “clicktatorship” that we’re experiencing.

The “clicktatorship” is generating these images to justify the occupation of American cities by military forces, or to justify cutting off resources to states that did not support the president, to do things that would have truly shocked us a decade ago.

Trump’s first presidency was characterized by a sort of showmanship. How is that different from what we’re seeing now?

The first Trump presidency might be understood as a “TV presidency,” where watching The Apprentice or Fox News gave you real insight into the milieu in which Trump was operating. The second Trump presidency is the “Truth Social or X presidency,” where it is very hard to interpret without the reference points of those online platforms. Some of the content and messaging that the president or other senior policymakers use is stuffed with inside references, messaging that doesn’t make a lot of sense unless you’re already in that online community.

Modes of discourse have also changed. We’re seeing very senior policymakers exhibit the patterns and habits that work online. Pam Bondi going to a Senate hearing with a list of zingers and printed-out X posts as a means of responding to a traditional accountability process, reflects how this online mode of discourse is shaping how public officials view their real-life roles.

There’s been a lot of research about the polarizing and harmful nature of social media. What does it mean that our political leaders are people who have not only been successful in manipulating social media, but have themselves been manipulated by it?

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#Content #Clicktatorship

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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