Unveiling ‘Scarlet’: A Deep Dive into the Anime Film That’s Captivating Audiences

Once upon a time, Mamoru Hosoda was set to direct *Howl’s Moving Castle*. But then, Hayao Miyazaki took the reins. Now, with the release of *Scarlet*, it’s interesting to see how Hosoda’s work compares. While *Scarlet* tries to channel his feelings about war in the Middle East into a story inspired by *Hamlet*, it ends up being his weakest film yet.

Much of Hosoda’s earlier success came from teaming up with writer Satoko Okudera. Films like *The Girl Who Leapt Through Time*, *Summer Wars*, and *Wolf Children* thrived thanks to her strong narratives. Since they split, Hosoda’s films like *The Boy and The Beast*, *Mirai*, and *BELLE* haven’t quite matched that level. They often feature stunning animation, but the storylines fall flat.

<pScarlet starts off strong with a beautifully animated opening set in Elsinore, weaving in fresh takes on familiar Hamlet themes. However, as the story unfolds, these intriguing ideas start to fade. One major character, Hijiri, represents peace, creating tension with Scarlet’s desire for revenge. Unfortunately, their conflict feels rushed and lacks depth, making Hijiri a forgettable figure. His struggles with accepting death come off as somewhat superfluous, leaving the audience wanting more.

The journey through the Otherworld presents some breathtaking visuals, but the quest feels lackluster. Instead of engaging side characters, Scarlet and Hijiri mostly encounter bland crowds. This contributes to noticeable inconsistencies in animation. Sometimes, the blend of 2D and 3D looks awkward, detracting from the overall experience.

The film features a couple of disappointing dance scenes. One hula dance looks stiff, resembling low-quality game animation. A dream sequence inspired by *La La Land* should shine but instead overwhelms with poorly animated extras that distract from the story. Even the catchy pop song fails to elevate the moment.

Perhaps the most frustrating part is the ending. Despite enjoying optimistic tales, I found myself rolling my eyes. Hosoda’s hope that a simple *Hamlet* twist could resolve all future conflicts feels naive and unconvincing. If he believed it, the ending might have been more impactful.

Meanwhile, at the 2025 Toronto International Film Festival, Satoko Okudera presented *Kokuho*, Japan’s submission for the Academy Awards. Though I found it lengthy, it had multifaceted characters and drama that *Scarlet* sorely lacks. It would be fantastic to see Okudera and Hosoda collaborate again. The right story could bring out the magic that audiences expect from Hosoda’s work.

As the film industry evolves, viewers are increasingly aware of storytelling’s power. A recent survey found that 73% of moviegoers believe strong narratives define their viewing experience. In an age where audiences crave connection, *Scarlet* misses the mark. Great animations can’t compensate for underwhelming storytelling.

In the end, while Hosoda has created stunning visuals in his career, *Scarlet* is a reminder that engaging narratives matter just as much. It’s a lesson for filmmakers moving forward: stories that resonate with audiences are essential.

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