“This is a story about a secret world only she and I know. That day, we changed the shape of the world forever.” –Movie Tagline
Amidst the runaway success of Kimi no Na Wa, Makoto Shinkai found himself staring at a towering white cumulonimbus, standing out against the vivid blue of a summer’s sky on a hot August day. The massive thunderhead’s flattened top resembled an island, and Shinkai thought, what if this was a world of its own? This is how Tenki no Ko (天気の子, Weathering With You in English, literally “Children of the Weather”) came into being: Makoto Shinkai’s latest film, Tenki no Ko follows Hodaka Morishima, a high school student who moves to Tokyo and finds that his finances are quickly consumed. He eventually takes up a position as a writer for an obscure and objectionable occult magazine. However, shortly after accepting this job, the weather in Tokyo becomes monotonously rainy. Amidst the endless activity in Tokyo, Hodaka encounters Hina Amano, an optimistic and dependable girl who lives with her brother. Beyond her cheerful manner lies her ability to clear the skies. At least, this is what the synopsis for Tenki no Ko is, and recently, a trailer was released, detailing the animation and artwork viewers can expect from Tenki no Ko. Standing in contrast with Shinkai’s previous works, which have colourful, vividly detailed and cheerful backgrounds, Tenki no Ko features much drearier, dilapidated settings in its trailer that resemble Hong Kong’s former Kowloon Walled City. Greys dominate the setting, which is covered with haphazard wiring, overgrowth and crumbling structures. Compared to the cleaner, cared-for settings of Kotonoha no Niwa and Kimi no Na Wa, Tenki no Ko conveys a more desolate setting, communicating ruin forgotten amongst a city’s endless drive for progress. However, shaft of golden light, breaking through gaps in the cloud, suggest an oasis of happiness surrounded by a sea of monotony, and so, in this trailer, Tenki no Ko hints that it is much more than being a mere film about youthful romance and fateful meetings.
Screenshots and Commentary
- The last time I wrote a preview for a Makoto Shinkai movie, it was three years ago, and I was entering the final term of my graduate studies. Kimi no Na Wa came out eight months later, and subsequently, it was an eleven month journey to the other side where I could finally watch and write about it. By comparison, Tenki no Ko‘s first trailer released precisely 100 days before its première date. It opens with closeups of details such as rain falling onto an umbrella, immediately setting the stage for what is to follow.
- The choice of lighting, with greys, browns and tans dominating the Tokyo landscape, which is focused on older parts of the megalopolis, suggests that Tenki no Ko might be going in a slightly different direction. Each of Makoto Shinkai’s films stand out from one another despite being characterised by themes of distance, fateful encounters and the like; one possibility from the trailer is that themes of urban decay, abandonment and finding joy even among desolation come into play in Tenki no Ko. However, this scene also features a single shaft of light from the sun breaking through the clouds, suggesting that optimism and hope, also exist.
- Hina maintains a small shrine on the roof of her building, which is evidently aging and overgrown with weeds. The scene feels more like something out of Alan Weisman’s The World Without Us, a book that longtime readers of this blog will have doubtlessly heard me reference multiple times. I am admittedly curious to see where the film will go with its direction, and the trailer does seem to set the tone for what kind of settings the movie will cover. However, I imagine that as we press further into the movie, more majestic and beautiful locations will also be seen.
- The chaotic mass of pipes and wiring here remind me greatly of the Kowloon Walled City that existed in Hong Kong: after World War Two, there was a parcel of land in Hong Kong that officially belonged to China, but seeing as how the British and China would not accept administrative responsibility of the area, what was once a walled city and yamen turned into a site for the destitute. Since neither British nor Chinese law applied here, people escaped to the Walled City and constructed their own apartments and utilities. By 1990, the site was the most densely populated site in the world, with some 1.2 million inhabitants per square kilometre, and despite its fearsome reputation as a hotbed of crime, most of the residents lived their lives peacefully.
- The short synopsis presently provides next to nothing in the way of what’s going to happen in Tenki no Ko, rather like how the body switching of Kimi no Na Wa was only a primer for the movie’s main story – this leaves the film quite free to explore most anything, and for this, I am very excited to see where Tenki no Ko will head. Here, we have a closer look at Hina; she bears little resemblance to Shinkai’s earlier characters, and is voiced by Nana Mori. One of the chief drawbacks about Shinkai’s older works were that his female leads seemed to be ethereal, angelic beings of perfection; by the events of Children Who Chase Lost Voices From Deep Below, his female characters become more nuanced and human, giving viewers more incentive to root for them.
- Vegetable animals are a part of the Obon Festival: they usually take the form of a a horse made from cucumber and an ox made out of eggplant. These animals symbolise transport for ancestral spirits that return them to the realm of spirits, and traditionally, were put outside one’s door on the first day of Obon with incense. The last time I saw Obon vegetable animals was in Sora no Woto‘s seventh episode, where Kanata explains customs from her area. Emphasis on this suggests that life and death might also be a component of Tenki no Ko.
- I’ve long expressed my displeasure that there are some out there who view Makoto Shinkai’s films as a justification for pressing the idea that extensive knowledge of the Man’yōshū and other aspects of Classical Japanese literature and folklore is required to fully appreciate his films. During Kimi no Na Wa‘s run, one unscrupulous fellow continued to peddle this idea, all the while putting down others for not “getting” the film to the same level as they did. While it is true that Shinkai incorporates classical elements into his works, these merely serve as analogies and allegories that enhance the story if noticed; the story is in no way diminished if one chooses not to account for these elements.
- Tenki no Ko remains early in its reveal, and I’ve not seen discussions go in this direction as of yet: personally, I am confident that this film will be quite enjoyable, irrespective of one’s prior knowledge in Classical Japanese literature and folklore. It suddenly strikes me that the trailer’s release is much closer to the film’s actual release than was Kimi no Na Wa‘s, and a part of me wishes that Tenki no Ko will be similarly structured and released as Kotonoha no Niwa: with a shorter runtime of 45 minutes, Kotonoha no Niwa released in May 31, 2013 and became available for home release on June 21, 2013. This made the film exceptionally accessible.
- The trailer depicts Hina flying through the skies, far above the tops of the thunderheads, which are tinged with green to evoke imagery of islands in the skies: the scenery here is used in the promotional artwork for Tenki no Ko and, while not as iconic as Comet Tiamat’s trail in Kimi no Na Wa, remains quite distinct and grand in scale. The film’s soundtrack will be performed by RADWIMPS, who make a triumphant return after composing and performing the excellent soundtrack for Kimi no Na Wa: the theme song for Tenki no Ko is Ai ni Dekiru koto wa Mada Arukai (“Is there still anything that love can do?”).
- I am certain I will enjoy this movie, and hope that it’ll see a shorter delay in the gap between the theatrical première. With this being said, I am certain that certain review sites, like Anime News Network. will unnecessarily waste resources to see this movie for the singular purpose of pushing out a review first. Until the rest of the world gets to see the movie, I suggest that reviews appearing at Anime News Network, and anywhere else, should not be regarded as a credible assessment of the film. I realise that I’ve been writing considerably less as of late, as well: real life obligations has meant that I’ve less time to write in general these days. Having said this, I am definitely going to be offering my thoughts on Tenki no Ko once it is available, and in the near future, I am also doing a talk on I Want to Eat Your Pancreas, a solid film whose home release became available earlier this month.
Entering Tenki no Ko, expectations are high for a visually stunning film – the trailer and Shinkai’s past works set the precedence for what audiences can expect. From the glint of light on raindrops to flaking paint, dense, unkempt vegetation on a building’s rooftop and the enigmatic world above the clouds, Tenki no Ko will undoubtedly impress with Shinkai’s signature artwork and animation. The story remains unknown right now, and here, I will enter with an open mind – I recall that with Kimi no Na Wa, I expressed a want to see reduced romance in favour of exploring growth. The film delivered this, in a manner of speaking, but with the benefit of hindsight, I ended up eating my words. Tenki no Ko represents a familiar setup for Shinkai, but with a different premise, I look forwards to seeing what new directions the film can explore, especially with rain and its associated themes making a return in conjunction with a bit of magic that manifests in Hina’s ability to stop the rain. While perhaps nowhere nearly as potent as the Infinity Gauntlet, I look forwards to seeing how this ability will impact her and Hodaka’s growth. Aside from a more open mind, I also enter the long wait for Tenki no Ko with the understanding that this film could take a similarly long time to become available for English-speakers: with a release date of July 19, Tenki no Ko will likely see a home release in June 2020, ahead of the 2020 Tokyo Olympics, if it sees a strong box office performance. This wait is going to be a tricky one, although now that I am entering with the preparedness to endure a long wait, I can pursue other things while spoilers for Tenki no Ko become more commonplace – the Halo: Master Chief Collection looks to be more than acceptable a means of enjoying myself while we wait for the film to become available, and you can bet your bottom dollar that I will be vociferously griping about my inability to watch this film while I melt through the Covenant, Flood and Forerunner Prometheans alike.