Más vale que esta review contiene spoilers de toda la peli de principio a fin con el afán de poder expandirla lo maximo posible, si no la viste lo mejor que podés hacer es ir a mirarla sin dudar ni un momento porque no te vas a arrepentir de haber visto esta joya desde el total misterio
Se va a notar mucho que esta es la primera vez que hago una reseña, pero voy a hacer lo mejor posible tratando de poner en palabras todo lo que este filme me genera:
¿Por donde empezar, no?
Creo que lo mejor es recordar un poco el contexto de donde viene la película, hablo de la GLORIOSA Sound! Euphonium la cual se destaca por sobre todo en saber como retratar las relaciones humanas y los sucesos drámaticos a la perfección, pudiendo despertar las emociones mas puras que pueden salir de una persona.
La segunda temporada nos trae el distanciamiento de Mizore y Nozomi y como esta última nisiquiera le dijo a su amiga que dejaba la banda, quedando Mizore sin nadie tan cercano a ella (aunque Yuko siempre la apoyaría durante todo ese tiempo y Mizore no pudiera discernir entre la compasión y la amistad) y mas importante, sin la persona que le abrió las puertas a la música y a lo que significaba tener una amiga. la intérprete de Oboe ya no sabía ni porque seguía tocando, tal vez porque hacerlo la unia a Nozomi de alguna manera.
> Al que es amigo, jamás
Lo dejen en la estacada;
Pero no le pidan nada
Ni lo aguarden todo de él:
Siempre el amigo más fiel
Es una conduta honrada.
-Martín Fierro, José Hernández, 1879En el capítulo cuarto de la segunda temporada parecía que lo que estaba trabado se destrabó, que se pudieron comprender la una a la otra después de tanto tiempo sin verse, que ese Oboe y esa Flauta podían volver a sonar como alguna vez lo hicieron, y acá es donde mas me gusta remarcar la maestría de este largometraje, porque cuando uno se reconcilia con una amistad, la verdadera vuelta es tardía, porque hay que tomarse el tiempo para que todo se termine acomodando, lo que hace que cuando se termine de reconstruir termine volviendo mas fuerte que nunca, el perdón y la reconciliación siempre tienen un gusto inigualable, porque saben llegar en el momento dado por mucho que pueda tomar.
# Entrando en Liz and the Blue BirdVa siendo hora de ir a lo que venimos:
Apenas damos play vemos un paisaje del mundo del cuento de Liz que sigue con el primer encuentro de ella con el pajaro sin aún conocerlo, con una paleta de colores que invita a la paz y a mostrarnos un ambiente bello, este recurso es importantisimo por el contraste que hace con los colores del resto de la peli, mostrando muchos azules y haciendo diferencia no solo con Hibike sino con KyoAni en general, es un azul que nos da melancolía, nos da nostalgia, pero en vez de frio se siente confortable, como si desde el primer minuto fueras alumno de la Kitauji y miembro de la banda, te hace sentir parte y que la historia te la están contando a vos.
Si leyeron o vieron reviews de esta pieza ya sabrán de sobra el gigante valor que tiene la primera secuencia de Mizore y Nozomi entrando al colegio, y es tan grosa que no la puedo pasar por alto.
A Naoko Yamada la conocemos, entre tantas cosas, por su magia para comunicar los sentimientos de los personajes con sus gestos y su cuerpo y acá da una masterclass de ello.
Mizore llegando bien temprano y Nozomi siguiendo su misma voluntad para ensayar desde primera hora pero llegando levemente mas tarde, como Mizore va moviendo sus piernas, escuchando los pasos para saber si quien viene es Nozomi o no, quien camina adelante y mas rapido así como quien va atrás y mas lento, la forma en la que sacan los zapatos, como una toma agua y por consiguiente la otra también, el movimiento de las polleras y mil cosas mas, te dice tanto sobre las dos en pocos minutos y eso es algo único de lograr (LA MIRADA AL PASADO QUE TIENE MIZORE, me había re olvidado de eso).Primer Movimiento
La historia que le da nombre a la peli, Liz y el Pajaro Azul, cuando la leen te siguen mostrando como es cada una de las protagonistas con sus gestos y con lo que opinan del cuento, aunque ninguna de las dos lo pueda entender todavia. Nozomi buscando el final feliz y Mizore relacionando a Liz con si misma instantaneamente pero sin decirlo, Mientras que Nozomi lo menciona pero cambia rapido el tópico, sabe que nunca pudo estar comoda para tocar ese tema.
[Dato de Color: Nombran al compositor real de la pieza Akito Matsuda, de este genio voy a hablar mas tarde]
Amo que cuando intentan por primera vez el tercer movimiento ya se nota que lo que falta es que las dos sientan lo mismo y que no es un problema de habilidad.
Llega la dupla de Yuko y Natsuki junto con Kumiko y Reina para cambiar un poco el ambiente.
La Bellisima Animación y el Dibujo
El estilo que manejan tiene una forma mas sutíl y mas cercana al realismo que en otras obras de KyoAni, se puede decir que es la heredera visual (y también hereda algunos otros aspectos) de A Silent Voice o Koe No Katachi, esa forma de conservar los diseños de Hibike pero darles un nuevo aire mucho mas a tono con la película, sobre todo me encanta como se trabaja el pelo y como dibujan los ojos (rompiendo un poco la tipica idea de hacer a los personajes femeninos con ojos grandes).
Las escenas con miradas al pasado son algo hermoso que muestran la calidez que trae recordar a alguien y se ve en sus colores,
El hecho de dar a cada personaje sus detalles para hacerlo sentir vivo como sus respiraciones, sus momentos cuando pestañean, el movimiento que manejan, el tiempo que se toman a la hora de hablar y la marca de la casa de Naoko, el dialecto que dan a entender sus piernas
El Guión Gráfico o Storyboard es hermosisimo puesto que toma angulos de un monton de formas distintas mostrando bien el ambiente de la Kitauji, donde pasan todos los hechos de la película, dandote un sentimiento (como ya dije) de que sos parte y de que estuviste ahí para ver los hechos, como si fuera el colegio en el que hubieras estudiado.
Que hayan decidido hacer de esta parte de las novelas una película es una decisión que no se tiene muy en cuenta pero que es importantisima. Hay filmes en el anime que no cuentan con la esencia de un largometraje (sin ir mas lejos la propia Chikai no Finale de Euphonium, que aún siendo para mi muy buena, se siente mas como un resumen ya que abarca todo el segundo año) esta esencia la tiene porque sabe ir mas allá del anime del que viene y llevar toda su magia todavia mas alto, con extremo cuidado en cada frame, sabiendo usar los silencios, sacando a relucir toda clase de detalles, todas cosas que estan quirúrjicamente diseñadas para que uno la vaya a ver al cine (aunque KyoAni siempre fue de cuidar así absolutamente todas sus obras en todos los formatos).
Volviendo a la historia, tenemos el primer gran cambio en la trama cuando pasamos a la primera parte del libro, con el dia a dia de Liz, con una vida tranquila y sin muchos problemas, pero sola, sin nadie con quien compartir una buena parte de su vida, y acá es cuando mas de uno comprende recordando alguna etapa en la que vivió algo así, me recordó un poco a mis primeros dias en primero del secundario cuando no me animaba a hablar con nadie.
Ahora es el turno del personaje que mas admiro (y amo) de las últimas dos generaciones, de Ririka por supuesto. Su primera aparición parece el tipico momento en el que un kouhai trata de hacerse amigo de su senpai pero el tema está en como aparece, vamos unos 20 minutos de la peli y hasta ahora todo había llevado un tono medio serio y bastante melancólico, es ahí cuando (momento del sobreanalisis, no tomar en serio porque ni en pedo esto es parte del concepto de la peli xddd) empezás a entender que esta obra es la vida misma, ella llega y, junto con el tema que suena de fondo, se diluye toda la tension. Porque siempre que uno en su cabeza está en un modo reflexivo puede llegar cualquier cosa a romper ese ambiente, que es tan fragil como lo que uno solamente piensa.
Ririka es alguien que de verdad admira a Mizore y quiere llevarse con ella, por eso decide preguntarle a Nozomi sin conocerla sobre como es.(Ya hablé de la animación pero posta me encanta el estilo medio caricaturezco que usan para dibujar el mundo del cuento).
El Pajaro Azul fue a buscar a Liz no por el hecho de que fuera alguien en especifico, sino porque estaba sola, necesitaba a alguien y allí fue donde el pajaro quiso aparecer. Liz descubre lo que es tener una amiga, y sin dudarlo le pide que se quede con ella, esto último resuena muchisimo en Mizore y en todos los que alguna vez quisimos decir eso internamente.
y caés en manos del Ángel de la Soledad
y él ¡Gracias a Dios!
tampoco cree lo que oye.
-Patricio Rey y sus Redonditos de Ricota, 1993
Creo que acá es cuando viene la primer escena crucial, cuando nuestra dupla pasa por el aula donde ensayan los graves y ven a Satsuki dandole un abrazo a Mirei y Nozomi (y acá va un detalle que me di cuenta la segunda vez que la vi porque los subtitulos no lo señalaban) dice "Daisuki... no hug" diciendo te amo y después explicando que así se llama el abrazo que hacen los alumnos de la Minami, y claro, Mizore nunca lo había experimentado en sus años ahí. Es entonces cuando tenemos otra muestra de como Nozomi no se puede sincerar con su amiga, haciendole una joda con que le de el abrazo y arrepintiendose al final, ahí queda mas claro que la lejanía es mutua, que no es un problema de una y otra sino de ambas.
img220 (https://i.pinimg.com/564x/f5/b0/f5/f5b0f51bb367bca8a9e8604d78fe8b88.jpg)
Y Acá Entrás Vos...
♥ N A T S U K I ♥
Ya venía siendo el momento de hablar de uno de los personajes que mas amo de todo el Anime en general (pelea mano a mano el primer puesto con Rock Lee y Mio de K-On). Podría llenarme la boca hablando de todas sus acciones a lo largo de Hibike que me hacen querer mucho a este personaje, pero vamos a limitarnos a la hora y media en cuestión para que esta parte no me coma media review.Me es dificil no hablar de la colorada sin hablar de como va creciendo en toda la serie, que una accion sola le alcanzó para poner primera con la banda sinfónica, la madurez que demuestra y por sobre todo el hecho de ser un ejemplo de comprensión, paciencia y amabilidad para todo aquel que la rodea. Por ser alguien que sabe cuando hablar y cuando no, pero, concentrandose en el filme:
Natsuki es el personaje que mas trata de mantener unido al Cuarteto de Minami (hermoso grupo y mi camada favorita de Hibike). Sabe acercarse a Mizore, a Nozomi y por supuesto a Yuko, nunca con el fin de ponerse del lado de nadie sino de ayudar a cada una de la mejor manera posible.
Este frame es lo mejor que vi, lo amoElla sabe entender por lo que pasa Nozomi y por eso le dice que aunque sean amigas no tienen porque contarse todo.
Realmente te quiero mucho Natsuki Nakagawa, sos un sol y todo lo que aspiro a ser como persona y como amigo.
El Ancho de Espada
Volvamos a la piel de Mizore, aún pensás que sos Liz y que nunca podrías dejar ir al pajaro, Nozomi parece querer ir a estudiar música junto con vos (o mas bien, estás con la costumbre de depender de ella), pero la duda te consume, no sabés si te puede volver a dejar, y ahí es cuando encontrás una luz. Eso es lo que mas nos da Ririka en esta hora y media, una amiga que puede ser el principio para empezar a ver un mundo mas allá de la persona con quien habías estado siempre, seguirás con duda y mas cosas dentro de la cabeza pero siempre es bueno recordar que Vivir Solo Cuesta Vida y sobre todo tener alguien que te lo pueda hacer saber.
El Ancho de Basto
Escuchemos y sintamos lo que sale de esa Flauta Traversa porque toca una pieza que se como se siente vivirla (y se como se siente desafinar en algunas notas), Nozomi también siente duda, mucha, sobre si Mizore la habrá terminado de perdonar, sobre que futuro se le viene y sobre la distancia que cree que está dando su gran amiga, y este último para mí es el ejemplo perfecto de como La falta de comprensión nos saca de nosotros mismos porque Nozomi en cualquier caso le hubiera preguntado como se siente o se hubiera preguntado mas el porque de esa distancia, pero elige guardarse el problema, casi que ignorarlo, pensar si Mizore le seguirá teniendo bronca. Pensar tan infantilmente sobre otro es algo que viví en carne propia y que me costó carísimo, perdiendo una amistad por un tiempo y ahogandome en culpa noche tras noche. Porque cuando uno empieza a encarar por ese camino es cuando puede cometer sus peores errores, ahí es donde nuestra flauta NO falla, porque piensa lo suficientemente bien como no llegar al punto en el que reacciona de mala manera.
(Nota: en el Truco Argentino [juego de cartas] el ancho de espada es la carta de mayor denominación por lo que le gana a todas las otras del mazo, mientras que el ancho de basto es la segunda mas poderosa, estando por encima de todas sacando al uno de espada, tener las dos juntas es una victoria segura pero si se encuentran en distintas manos cada una se forma un partido trabado, como pasa con nuestra dupla cuando trata de interpretar la pieza)
Si la amas, déjala ser, si la quieres, déjala volar
La frialdad que tiene Nozomi se deja ver mucho en el momento en el que se le cruzan los cables cuando Mizore le pregunta si puede invitar a Ririka, conforme voy escribiendo esto (ya voy mas de una semana, y eso que pensaba que la iba a terminar en una noche) voy comprendiendo de a poco (mas no justificando) todos los actos cuestionables de Nozomi y de como uno puede no darse cuenta de que a aquel que mas quiere le puede terminar dando lo peor de uno mismo
Esta transición es excelsa, te resume todo en 3 frames y va dando a entender el lenguaje que tiene Nozomi con sus expresiones, donde esa sonrisa repentina simboliza su tristeza interna.
Otra gran escena es cuando el cuarteto de Minami engancha a Kumiko y Reina tocando el tercer movimiento en los roles del Oboe y la Flauta, deja ver la armonía que hay entre ellas dos tanto dentro como fuera de la banda, contrastando con la trama que vienen llevando nuestras protagonistas (si vieron la temporada 3 de Hibike, recordarán que
Spoiler, click to view
nuestra Trompeta y nuestro Eufonio pasarían por exactamente el mismo conflicto, siendo comparadas con Liz y el Ave, y teniendo el tema de la escuela de música de por medio).
(Pese a que no sea muy bancado, me encanta el estilo de dibujo que usaron en todos los personajes, y Kumiko es el maximo exponente de esto.)Esta escena también es un ejemplazo de lo hermosamente bien cuidado que está el sonido es esta peli, para cada minima accion se añade el sonido y el volúmen justos, para que todo conviva en una misma atmosfera y se sienta completamente real.
(Amo como aprovechan este momento para meter varios planos detalle)
Acá es cuando empezamos a ver una alternancia entre Mizore y Nozomi, con la primera empezando a afrontar el hecho de dejar ir conforme va hablando con Niiyama, y con la otra afrontando lo mismo, pero con el foco en las consecuencias de sus acciones, y acá es donde se hace un lugarcito Yuuko, que bien merecido tiene que hable un poco de ella:
Es curioso como a la del moño la conocemos de la peor manera posible en el anime, una chupamedias mas del montón que parecía destinada a estar solo para romper las bolas a lo largo de la trama. Pero después pasa por una redención bella, humana, y silenciosa, y esto es lo que la lleva a ser la siguiente presidenta de la banda, estando completamente a la altura del puesto.
Alrededor de la hora de película, ella es la única que en un momento decide ponerle los puntos a Nozomi, uno puede pensar que no es prudente, ya que varios hechos anteriores nos demostraron que es alguien impulsiva ademas de emocional, y es verdad que no era lo mejor el hecho de tirarle la cruda solo por dudar de seguir estudiando música o no, pero el punto es que deja ver como Yuko siempre se preocupa fuertemente a su manera por quienes quiere, y en este caso es con Mizore. Justamente esto contrasta con Natsuki, quien la frena y busca no generar tensión en situaciones donde se puede evitar.
Como si de a poco fueramos metiendo el cuerpo unas frias aguas conforme pasa el filme, es ahora cuando nos empezamos a mojar de la mitad del cuerpo para arriba, sumergiendonos donde mas frio nos da pero todavia sin ser golpeados de lleno por las olas, en el punto mas importante de la obra, el aprender a dejar ir. Es donde uno se llena de preguntas.
- ¿Uno seria capaz de dejar ir?
- ¿Es realmente lo correcto?
- ¿Puede ser esto una muestra de amor?
Porque este es uno de los dilemas que mas inseguros nos deja como seres humanos, que mas dudas nos genera y también uno de los que mas nos aterra, ¿porque cómo es que hacemos para dimensionar que alguien que forma parte de nuestra vida, de un dia para el otro, ya no esté mas?, que todo lo que uno haya compartido con esa persona se termine y vaya a quedar solo en el recuerdo, que un camino marcado por la unión se bifurque, se parta y cada uno tome rumbos distintos, ¿cómo hacer para asimilar que dejar ir es lo mejor por hacer? ¿cómo podría aceptar Mizore el seguir un camino distinto al de su única amiga? ¿cómo podría aceptar Nozomi el tener que dejar volar a Mizore?.
Ahí es cuando entra en juego la escena en la que replantean si se insertaron bien en la historia, si Liz era una y el pajaro era la otra o si siempre fue al revés, acá es donde despierta Mizore y empieza a entender el amor que hay detrás de cada despedida.
Hermosa forma de hilar perfectamente cada dialogo y llevarlo a lo mas alto en momentos como estos, es una de las tantas veces que se ve la genialidad de Reiko Yoshida en el guión, una persona fundamental en esta y muchas otras obras maestras.Las despedidas son de esos dolores dulces
-Algún tema de los redondos
Le arrebaté sus hermosas alas porque la amo. Las alas que podían llevarla a donde ella quisiera. Dios mío, ¿por qué me enseñaste cómo abrir la jaula?
Esta línea sola es suficiente para fusilarte por dentro, para sentir lo mismo que Nozomi sin importar si viviste lo que vivió ella o no, para preguntarte a quien fue que le abriste vos la jaula, a quien fue que tuviste que dejar volar, y si pudiste terminar de aprender a vivir con ello. Toda esa catarata inconmensurable de emociones se te forma en apenas unos segundos, todo lo que sentís se junta en un solo lugar y es cuando escuchás esa línea, y para colmo KyoAni te lo empalma con uno de los mejores frames de toda la animación, donde todo el sentimiento fluye.
Una Decisión Nacida del Amor
_Y aquí se pone a tocar
al compás de la vigüela
que a la mujer la desvela
una pena extraordinaria
como el ave solitaria
con el tocar se consuela_
Mizore habrá despertado, pero Nozomi aun no puede, ensayo, tercer movimiento pedido por el Oboe
Esta escena es perfecta en todo, en TODO de principio a fin, la vi mil veces y sigo pensando lo mismo
Los movimientos de ambas conforme va pasando la pieza, expresando todo lo que no hablan, todo lo que no se dice, todos los silencios, todo lo que no pueden poner en palabras lo expresan acá mediante la música
El sonido con el que escuchamos el ensayo no es la mezcla original del tema sino que nos pone en los oidos de Nozomi, algunos momentos del tema se escuchan mas claros y otros mas ensordecidos, reflejando la confusión de ella en todo momento, hay veces que hasta las flautas suenan bajas dando a entender que por momentos no se escucha ni a ella misma, pero lo que nunca deja de sonar fuerte en toda la secuencia es el Oboe. Ya liberado, dejando ver el potencial sin limites que tiene.
Cada digitación, cada gesto, cada plano que va recorriendo los distintos instrumentos y personajes, los momentos donde se borronea la pantalla, todo es una muestra del amor y de la dedicación gigante que hay atrás de cada obra de KyoAni, y uno de los puntos mas altos de esto trata de la banda sonora, con 2 grandes maestros detrás de este filme:
Podemos iniciar hablando de Kensuke Ushio quien ya había hecho genialidades con obras como A Silent Voice, acá sabe reflejar la suavidad que ambienta esta peli en lo visual, no solo por meterse de lleno en la historia añadiendo elementos como los sonidos de pasos a sus temas sino también haciendolo con el mismo ambiente que envuelve a la película, uno fragil y tranquilo, sin tensiones fuertes ni momentos efusivos. Sus temas son parte del sentimiento que te hace sentir dentro de la historia porque en todo el OST está presente esa sutilidad que la hace encajar perfectamente en todo lo que va pasando durante la peli, los nombres de los temas también dan a entender eso, nombrando cosas que son parte de la vida de los personajes. Todo de una forma cuidadosa, todo de una forma apasionada, todo hace de esta banda sonora algo único y que ningún otro podría replicar.
Y por el otro lado tenemos a quien nos dio esta pieza sinfónica y muchas otras que suenan durante el anime, Akito Matsuda nos da una masterclass de como contar una historia con la música de por medio, son 22 minutos que se sienten como si fueran 3.
El primer movimiento le hace honor a su nombre ambientando los dias corrientes de Liz, hasta diría que me hace acordar un poco a la banda sonora de los juegos de Pokemon, tiene un montón de pasajes interesantes y momentos donde cada instrumento tira magia, tiene ese solo de Oboe (que deja escuchar el leitmotiv de la pieza que se vería mas en el tercer movimiento) para equilibrar un poco el ambiente del dia a dia con el de la soledad de Liz.
Vamos lento con el segundo movimiento, la lluvia y la llegada del pajaro, domina el suspenso y acá es donde se empiezan a sentir (completamente inchequeable, solo es algo que se me ocurrió a mi) las influencias que hay por las Danzas Polovtsianas de Borodin (que esta pieza también tiene un peso importante en la historia de Mizore y Nozomi, puede haber alguna relación ahí). Nueva Familia es el nombre del movimiento y nos da los momentos mas pacíficos.
La gloria del tercer movimiento es lo mejor que escuché venir de alguna película o serie, no hay palabras para describirlo bien pero es como tocar el cielo con las manos, todo lo que escuchás lo sentís como pocas cosas en la vida y a dia de hoy me sigue poniendo la piel de pollo.
Al 15:06 es el pináculo de todo
Y Al Cielo Lejano es como termina esta pieza, todo se libera para un cierre a fondo blanco, para olvidarse de toda la tensión, y después de tocar el tercero es cuando nuestras protagonistas pueden vivir su cuarto movimiento.
Llegamos acá, a la cuspide de todo lo que se vive en este relato
img220 (https://i.pinimg.com/1200x/49/4c/93/494c930a13c433ee0ecb4546d45f036b.jpg)
Todos los temas y todas las emociones que se tocan en la peli colisionan en esta escena, cada vez que uno la ve puede terminar sacando ideas distintas por la cantidad de formas en las que se puede interpretar, por lo que se dice, o por lo que nos dicen los visuales.
Algo que no me di cuenta en las tres veces que la vi (y que leí después) es que tras que Nozomi diga Amo el sonido de tu oboe son sus ojos los que indica que ella espera una respuesta, que Mizore le diga que ama como toca la flauta. Cuando no llega es que ella se empieza a cagar de la risa, se desinfla de toda tensión y agradece repetidas veces, y cuenta Nao Toyama (actríz de voz de Nozomi) que el significado es un "ya está", que ya es momento de seguir adelante. Viendo caminar a Nozomi te das cuenta que no está igual que siempre, empieza a recordar como fue que conoció a Mizore (se acuerda muy claramente pese a haber dicho que no) y ahí es cuando ya vuelve al estado en que la conocemos. Los dos pajaros, que habían volado de a uno cada vez que se los observaba por las ventanas, ahora van juntos.
Alta en el cielo, un aguila guerrera
Audaz se eleva, en vuelo triunfal
Azul un ala, del color del cielo
Azul un ala, del color del mar.
img220 (https://pbs.twimg.com/media/DuODofvU8AITp1x?format=jpg&name=large)
Esta imágen representando a las dos, Mizore es azul, Nozomi es rosa (todos los personajes de Hibike en general tienen colores que los identifican) acá es cuando Nozomi comprende a Mizore, y por eso el rosa entra tan profundamente en el azul. Las veces que la vi, lo había interpretado al revés, viendolo del punto de vista de que Nozomi era el azul (mas grande, tal vez por como es en su vida social) y Mizore era el rosa (mas chiquito, pero capáz de llegar mucho mas profundo) Después me enteré que no era así la cosa.
Algo que me parece hermoso de la peli es esa especie de mensaje doble que da, entendiendo que amar también es dejar ir pero a su vez abrazando la unión. Que podés dejar ir a esa persona que querés pero no tienen porque separarse, que las diferencias no tienen porque significar distancia y las adversidades no tienen porque quebrar nada. "Aprender a soltar", si, pero también el sostener, reparar, cuidar, amar, y no salir cuando todo se complica.
Vivimos un viaje importante en todo este rato, en ningún momento habiamos salido de la Kitauji hasta los últimos minutos del film, dejamos atrás la escuela, dejamos atrás el conflicto, dejamos atrás la tensión y la melancolía.
Ya sabrás esto pero las protagonistas caminan a una velocidad bastante similar cuando salen al final, con Mizore tomando la delantera por momentos porque ente ellas ya no hay desequilibrio ni diferencias que se guarden, hay unión por sobre todas las cosas. Lo que antes estaba dividido, ahora es uno.
img220 (https://i.imgur.com/TFVuJhq.png)
Happy ice cream!
Gracias por haber leído todo este viaje que me tomó mas de un mes en terminar, soy nuevo haciendo esto y quise empezar con mi película favorita de todo este mundo del anime, soy un pibe joven que todavia no experimentó tanto pero siento que hice lo mejor que pude y ojalá les haya gustado tanto como a mi me gustó escribirlo.
DIEZ
DE
DIEZ
Ponele que es un epílogo
Tal vez de un punto de vista seámos todos Liz, y de otro seámos todos el ave, tal vez he sido el pájaro de algunos sin siquiera saberlo, pero lo seguro es que si me ha tocado abrir la jaula o volar de grandes amigos, que el tiempo o la distancia nos hayan ido alejando un poco. Pudiendo vivir con eso, pero con alguien la cosa es puntual.
Al escribir la review hace unos meses hablé sobre como a veces surgía la pregunta, pero viendo las cosas hoy por hoy ya no se trata de la pregunta sino de la afirmación, porque estoy seguro de la misma y esta es sobre que un dia
This review contains spoilers for the entire film from beginning to end in order to expand it as much as possible. If you haven't seen it, the best thing you can do is go watch it without hesitation because you won't regret having seen this gem of total mystery.
It's going to be obvious that this is the first time I'm doing a review, but I'm going to do my best to put into words everything this film inspires in me:
Where to start, no?
I think it's best to remember a little about the context of where the film comes from. I'm talking about the GLORIOUS Sound! Euphonium, which stands out above all for its ability to perfectly portray human relationships and dramatic events, capable of awakening the purest emotions that can come from a person.
The second season brings us the estrangement of Mizore and Nozomi, and how the latter didn't even tell her friend she was leaving the band. Mizore is left without anyone close to her (although Yuko would always support her throughout this time, and Mizore can't distinguish between compassion and friendship). And, more importantly, without the person who opened the doors to music and what it meant to have a friend. The oboe player no longer knew why she continued playing, perhaps because doing so connected her to Nozomi in some way.In the fourth episode of the second season, it seemed that what was stuck was unblocked, that they could understand each other after so long without seeing each other, that the oboe and the flute could once again sound as they once did. And this is where I most like to emphasize the mastery of this feature film, because when one reconciles with a friendship, the true return comes late, because you have to take the time for everything to finally fall into place, which means that when it's finally rebuilt, you end up coming back stronger than ever. Forgiveness and reconciliation always have an incomparable taste, because they know how to arrive at the right moment, no matter how long it may take.
# Entering Liz and the Blue BirdIt's time to get to where we came from:
As soon as we press play, we see a landscape from Liz's storybook world that continues with her first encounter with the bird without even knowing it. It has a color palette that invites peace and shows us a beautiful environment. This resource is extremely important because of the contrast it creates with the colors of the rest of the film, showing many blues and making a difference not only with Hibike but with KyoAni in general. It's a blue that makes us melancholic, it makes us nostalgic, but instead of cold, it feels comfortable, as if from the first minute you were a student at Kitauji and a member of the band. It makes you feel part of it and that the story is being told to you.
If you've read or seen reviews of this piece, you'll already know the enormous value of the first sequence of Mizore and Nozomi entering school, and it's so awesome that I can't ignore it.
We know Naoko Yamada, among many other things, for her ability to communicate her characters' feelings with their gestures and bodies, and here she gives a masterclass in that.
Mizore arriving very early and Nozomi following her same will to rehearse from first thing in the morning but arriving slightly later, how Mizore moves her legs, listening to the footsteps to know if the person coming is Nozomi or not, who walks ahead and faster as well as who walks behind and slower, the way they take out their shoes, how one drinks water and consequently the other does too, the movement of their skirts and a thousand other things, tells you so much about both of them in just a few minutes and that is something unique to achieve (The look to the past that Mizore has, I had completely forgotten about that).First Movement
The story that gives the film its name, Liz and the Blue Bird, when you read it, continues to show you what each of the protagonists is like with their gestures and with what they think of the story, even though neither of them can understand it yet. Nozomi searching for a happy ending, and Mizore instantly connecting Liz to herself without saying so. While Nozomi mentions it but quickly changes the topic, she knows she could never be comfortable touching on that subject.
I love that when they first attempt the third movement, it's already clear that what's missing is for both of them to feel the same way, and that it's not a matter of skill.
The duo of Yuko and Natsuki arrives, along with Kumiko and Reina, to change the atmosphere a bit.
The Beautiful Animation and Drawing
Their style is more subtle and closer to realism than other KyoAni works. You could say it's the visual heir (and also inherits some other aspects) of A Silent Voice or Koe No Katachi. This way of preserving Hibike's designs but giving them a new look much more in tune with the film. I especially love the way they work with the hair and the way they draw the eyes (breaking a bit of the typical idea of making female characters with big eyes).
The flashback scenes are beautiful, showing the warmth that comes from remembering someone, and it's evident in its colours.
Giving each character their own unique details to make them feel alive, like their breathing, their blinking, the way they move, the time they take to speak, and Naoko's signature style, the dialect their legs convey.
The storyboard is beautiful because it captures angles from a multitude of shapes. Different, clearly showing the atmosphere of Kitauji, where all the events of the film take place, giving you a feeling (as I said) that you're part of it and that you were there to witness the events, as if it were the school you attended.
The decision to make this part of the novels into a film is a decision that is a bit overlooked at times, but it's extremely important. There are films in anime that lack the essence of a feature film (for example, Euphonium's Chikai no Finale itself, which, while very good in my opinion, feels more like a summary since it covers the entire second year). This essence is there because it knows how to go beyond the anime it comes from and take all its magic even higher, with extreme care in every frame, knowing how to use silences, bringing out all kinds of details, all things surgically designed to make you go see it in the theatre (although KyoAni has always taken this kind of care in absolutely all its works in all formats).
Back to the story, we have the first big change in the plot when we move on to the first part of the book, with Liz's daily life, with a quiet life without many problems, but alone, with no one to share a good part of her life with. This is when more than one of us understands, remembering a time when we experienced something like this. It reminded me a bit of my first days in secondary school when I didn't dare talk to anyone.
Now it's the turn of the character I admire (and love) the most from the last two generations, Ririka of course. Her first appearance seems like the typical moment when a kouhai tries to befriend his senpai, but the issue is in how she appears. We're about 20 minutes into the film and up until now everything had had a semi-serious and rather melancholic tone. That's when (moment of overanalysis, don't take it seriously because there's no way this is part of the concept of the film lol) you begin to understand that this work is life itself. She arrives and, along with the theme playing in the background, all the tension dissolves. Because whenever someone is in a reflective mode in their head, anything can happen to break that atmosphere, which is as fragile as what one only thinks.
Ririka is someone who truly admires Mizore and wants to get along with her, so she decides to ask Nozomi about what she's like, even though she doesn't know her.
(I already talked about the animation, but I really love the cartoonish style they use to draw the story's world.)
The Blue Bird came looking for Liz, not because she was someone in particular, but because she was alone, she needed someone, and that's where the bird wanted to appear. Liz discovers what it's like to have a friend, and without hesitation, she asks her to stay with her. This last bit resonates deeply with Mizore and all of us who have ever wanted to say that internally.
I think this is where the first crucial scene comes in, when our duo passes by the classroom where bass section is and sees Satsuki giving Mirei and Nozomi a hug (and here goes a detail I noticed the second time I watched it because the subtitles didn't point it out) says "Daisuki... no hug" saying I love you and then explaining that that's what the Minami students hug each other called, and of course, Mizore had never experienced it in her years there. It's then that we get another glimpse of how Nozomi can't be honest with her friend, teasing her into giving her the hug and regretting it in the end. It becomes even clearer that the distance is mutual, that it's not a problem between one and the other, but between both. img220 (https://i.pinimg.com/564x/f5/b0/f5/f5b0f51bb367bca8a9e8604d78fe8b88.jpg)
And Here You Enter...
♥ N A T S U K I ♥
It was about time to talk about one of the characters I love the most in all of anime in general (he fights head-to-head for first place with Rock Lee and Mio Akiyama). I could go on and on about all her actions throughout Hibike, which make me love this character so much, but let's limit ourselves to the hour and a half in question so this part doesn't take up half the review.It's hard for me not to talk about her without mentioning how she grows throughout the series, how one action alone was enough for her to hit the ground running with the symphonic band, the maturity she demonstrates, and above all, the fact that she is an example of understanding, patience, and kindness to everyone around her. For being someone who knows when to speak and when not to, but, focusing on the film:
Natsuki is the character who tries hardest to keep the Minami Quartet together (a beautiful group and my favourite from Hibike). She knows how to approach Mizore, Nozomi, and of course, Yuko, never with the aim of siding with anyone but rather to help each one in the best way possible.
This frame is the best thing I've seen, I love it
She understands what Nozomi is going through, and that's why she tells her that even though they're friends, they don't have to tell each other everything.
I really love you, Natsuki Nakagawa. You're a sweetheart and everything I aspire to be as a person and as a friend.
The Wide of Sword
Let's return to Mizore's skin. You still think you're Liz and that you could never let go of the bird. Nozomi seems to want to study music with you (or rather, you're used to depending on her), but doubt consumes you; you don't know if she can leave you again, and that's when you find a light. That's what Ririka gives us most in this hour and a half: a friend who can be the beginning of starting to see a world beyond the person you've always been with. You'll still have doubts and more things on your mind, but it's always good to remember that living costs nothing but life and, above all, to have someone who can make you understand that.
The Wide of Basto
Let's listen and feel what comes out of that flute because it plays a piece that I know how it feels to live (and I know how it feels to be off-key on some notes). Nozomi also feels doubt, a lot, about whether Mizore has finally forgiven her, about what future lies ahead for her, and about the distance she believes her great friend is causing her. This last point, for me, is the perfect example of how a lack of understanding takes us out of ourselves. Nozomi, in any case, would have asked her how she feels or wondered more about the reason for that distance, but she chooses to keep the problem to herself, almost ignoring it, wondering if Mizore will still hold a grudge against her. Thinking so childishly about another person is something I've experienced firsthand and it cost me dearly, losing a friendship for a time and drowning in guilt night after night. Because when you start down that path, that's when you can make your worst mistakes. That's where our flute DOESN'T fail you, because it thinks well enough not to reach the point where it reacts badly.
(Note: In Argentine Truco [a card game], the wide of sword is the highest denomination card, so it beats all the other cards in the deck. The wide of basto is the second most powerful, ranking above all cards, even taking out the spade. Having both together is a sure win, but if they are in different hands, each one becomes a complicated round, as happens with our duo when they try to play the piece.)
The Nozomi's coldness is clearly evident when she schoks for a little moment when Mizore asks her if she can invite Ririka, as I'm writing this (it's been over a week, and I thought I was going to finish it in one night) I'm slowly coming to understand (but not justify) all of Nozomi's questionable actions and how one can fail to realize that the person one loves the most is the one you can end up giving the worst of oneself.
This transition is superb; it sums up everything in three frames and gives a glimpse into Nozomi's language with her expressions, where that sudden smile symbolizes her inner sadness.
Another great scene is when Minami's quartet sees Kumiko and Reina playing the third movement in the roles of Oboe and Flute. It shows the harmony between the two of them both inside and outside of the band, contrasting with the plot our protagonists have been carrying out (if you saw season 3 of Hibike, you'll remember that
Spoiler, click to view
our Trumpet and our Euphonium would go through exactly the same conflict, being compared to Liz and the Bird, and having the music school theme in between).
(Although it's not very standard, I love the drawing style they used for all the characters, and Kumiko is the greatest exponent of this).This scene is also a great example of how beautifully taken care of the sound is in this film. For every minimal action, the right sound and volume are added, so that everything coexists in the same atmosphere and feels completely real.
(I love how they take advantage of this moment to add several detailed shots)
This is where we begin to see an alternation between Mizore and Nozomi, with the former beginning to confront the fact of letting go as she talks to Niiyama, and the latter facing the same thing, but with the focus on the consequences of her actions. This is where Yuuko makes a little space, and she well deserves to have a little talk about her:
It's funny how we get to know the girl with the ribbon in the worst possible way in the anime, just another average suck-up who seemed destined to be there only to piss people off throughout the plot. But then she goes through a beautiful, human, and silent redemption, and this is what leads her to become the next president of the band, fully living up to the position.
Around the hour mark, she's the only one who at one point decides to set the pace on Nozomi. One might think this isn't prudent, since several previous events have shown us that she's impulsive as well as emotional. It's true that it wasn't the best idea to give her grief just for doubting whether or not to continue studying music. However, the point is that it shows how Yuko always cares deeply in her own way for those she loves, and in this case, it's Mizore. This contrasts precisely with Natsuki, who stops her in and tries not to generate tension in situations where it can be avoided.
As if we were slowly submerging our bodies in cold water as the film progresses, it's now that we begin to get wet from the middle of our bodies up, submerging ourselves where it feels the coldest but still not being hit hard by the waves, at the most important point in the film: learning to let go. It's where one is filled with questions.
- Would one be capable of letting go?
- Is it really the right thing to do?
- Could this be a sign of love?
Because this is one of the dilemmas that leaves us most insecure as human beings, that generates the most doubts, and also one of the most terrifying. How do we comprehend that someone who is part of our lives is no longer with us from one day to the next? That everything we've shared with that person ends and becomes only a memory. That a path marked by unity forks, splits, and each person takes different paths? How do we assimilate that letting go is the best thing to do? How could Mizore accept following a different path than her only friend? How could Nozomi accept having to let Mizore fly?
That's when the scene comes into play where they reconsider whether they fit properly into the story, whether Liz was one and the bird was the other, or if it was always the other way around. this is where Mizore awakens and begins to understand the love behind every goodbye.
A beautiful way of perfectly weaving together each dialogue and taking it to the next level in moments like these. It's one of the many times we see the genius of Reiko Yoshida in the script, a fundamental figure in this and many other masterpieces.
I snatched her beautiful wings because I love her. The wings that could take her wherever she wanted. My God, why did you teach me how to open the cage?
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This line alone is enough to tear you apart inside, to make you feel the same way Nozomi does, regardless of whether you lived through what she did or not. It makes you wonder who it was that you opened the cage for, who it was that you had to let fly, and if you were able to finally learn to live with it. That immeasurable cascade of emotions forms in just a few seconds. Everything you feel comes together in one place, and that's when you hear that line. To top it all off, KyoAni splices it together with one of the best frames in all of animation, where all the feeling flows.
# A Decision Born of Love
Mizore may have woken up, but Nozomi still can't. Rehearsal, third movement requested by the Oboe
This scene is perfect in every way, EVERYTHING from beginning to end. I've seen it a thousand times and I still think the same thing.
The movements of both women as the piece progresses, expressing everything they don't say, everything that isn't said, all the silences, everything they can't put into words, are expressed here through music.
The sound we hear during the rehearsal isn't the original mix of the song, but rather the sound we hear in Nozomi's ears. Some moments of the song are heard more clearly, others more muffled, reflecting her confusion throughout. Sometimes even the flutes sound quiet, suggesting that at times she can't even hear herself. But what never stops sounding loud throughout the sequence is the oboe. Now unleashed, revealing its limitless potential.
Every fingering, every gesture, every shot that pans across the different instruments and characters, the moments where the screen blurs, everything is a demonstration of the love and enormous dedication behind each of KyoAni's works, and one of the highest points of this is the soundtrack, with two great maestros behind this film:
We can start by talking about Kensuke Ushio who had already created some masterpieces like A Silent Voice, and here he knows how to reflect the softness that sets the mood for this film visually, not only by immersing himself in the story by adding elements like the sounds of footsteps to his songs, but also by creating the same atmosphere that surrounds the film itself: a fragile and calm one, without any strong tension or effusive moments. His songs are part of the feeling that makes you feel like you're part of the story, because throughout the OST there's a subtlety that makes it fit perfectly into everything that's happening throughout the film. The song names also convey that, naming things that are part of the characters' lives. All done in a careful way, all done in a passionate way, everything makes this soundtrack something unique that no one else could replicate.
And on the other hand, we have the person who gave us this symphonic piece and many others that play throughout the anime: Akito Matsuda gives us a masterclass on how to tell a story with music. It's 22 minutes that feel like 3.
The first movement lives up to its name by setting the scene for Liz's frequent days. I'd even say it reminds me a bit of the soundtrack to the Pokemon games. It has a ton of interesting passages and moments where each instrument shines its magic. It has that oboe solo (which lets you hear the leitmotif of the piece, which would be heard more in the third movement) to balance the everyday atmosphere with that of Liz's loneliness.
We move slowly with the second movement, the rain and the arrival of the bird. Suspense dominates, and here is where we begin to feel (completely unverifiable, it's just something I thought of) the influences of Borodin's Polovtsian Dances (this piece also plays an important role in Mizore and Nozomi's story; there may be some connection there). "New Family" is the name of the movement and gives us the most peaceful moments.
The glory of the third movement is the best thing I've heard coming from any movie or series. There are no words to describe it properly, but it's like touching the sky with your hands. Everything you hear feels like few things in life, and to this day it still gives me goosebumps.
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And To the Distant Sky is how this piece ends, everything is released for a closing white background, to forget all the tension, and after playing the third movement, our protagonists can experience their fourth movement.
img220 (https://64.media.tumblr.com/2ed19df2f3a33fa4b444bd045cefe21d/877324796e1780c3-fa/s1280x1920/258a7431c7e9f796f4ab64e02fa31686a063e3a3.gifv)
We arrive here, at the pinnacle of everything experienced in this story.
img220 (https://i.pinimg.com/1200x/49/4c/93/494c930a13c433ee0ecb4546d45f036b.jpg)
All the themes and emotions touched upon in the film collide in this scene. Every time you watch it, you can end up with different ideas due to the number of ways it can be interpreted, by what is said, or by what the visuals tell us.
Something I didn't notice the three times I watched it (and read about it later) is that after Nozomi says, "I love the sound of your oboe," her eyes indicate that she's waiting for a response, for Mizore to tell her she loves her flute playing. When she doesn't get one, she starts laughing her head off, deflates all tension, and thanks her repeatedly, and Nao Toyama (Nozomi's voice actress) explains that the meaning is "that's it," that it's time to move on. Watching Nozomi walk, you realize she's not the same as always. She begins to remember how she met Mizore (she remembers it very clearly despite having said no), and that's when she returns to the state we know her in. The two birds, which had flown one by one every time they were observed through the windows, now walk together.
img220 (https://pbs.twimg.com/media/DuODofvU8AITp1x?format=jpg&name=large)
This image represents the two of them: Mizore is blue, Nozomi is pink (all the Hibike characters generally have colours that identify them). This is where Nozomi understands Mizore, and that's why the pink goes so deeply into the blue. The times I saw it, I had interpreted it the other way around (wrongly), seeing it from the perspective that Nozomi was the blue one (bigger, perhaps because of her social life) and Mizore was the pink one (smaller, but capable of going much deeper). Later, I found out that wasn't the case.
Something I find beautiful about the film is the kind of double message it conveys, understanding that love also means letting go, but at the same time embracing unity. That you can let go of the person you love, but you don't have to separate, that differences don't have to mean distance, and that adversity doesn't have to break anything. "Learning to let go," yes, but also learning to hold on, repair, care for, love, and not give up when things get complicated.
-----------------------------
We've been on an important journey throughout this entire time. We've never left Kitauji until the final minutes of the film. We leave the school behind, we leave the conflict behind, we leave the tension and melancholy behind.
You'll already know this, but the protagonists walk at a fairly similar speed when they exit at the end, with Mizore taking the lead at times because there's no longer any imbalance or differences between them. There's unity above all else. What was once divided is now one.
img220 (https://i.imgur.com/TFVuJhq.png)
Happy ice cream!
Thank you for reading this whole journey that took me over a month to finish. I'm new to this and I wanted to start with my favorite movie from the whole anime world. I'm a young kid who hasn't experienced much yet, but I feel like I did the best I could, and I hope you liked it as much as I enjoyed writing it.
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#Call it an epilogue
Maybe from one point of view we're all Liz, and from another we're all the bird. Maybe I've been the bird to some without even knowing it, but what's certain is that if I've had to open the cage or fly away from great friends, time or distance has distanced us a little. I can live with that, but with someone, it's a one-off.
When I wrote the review a few months ago, I talked about how the question sometimes came up, but looking back today, it's no longer about the question but the statement, because I'm sure of it, and this is about the fact that one day
▶ Video---------------------
This line alone is enough to tear you apart inside, to make you feel the same way Nozomi does, regardless of whether you lived through what she did or not. It makes you wonder who it was that you opened the cage for, who it was that you had to let fly, and if you were able to finally learn to live with it. That immeasurable cascade of emotions forms in just a few seconds. Everything you feel comes together in one place, and that's when you hear that line. To top it all off, KyoAni splices it together with one of the best frames in all of animation, where all the feeling flows.
#
Mizore may have woken up, but Nozomi still can't. Rehearsal, third movement requested by the Oboe
This scene is perfect in every way, EVERYTHING from beginning to end. I've seen it a thousand times and I still think the same thing.
The movements of both women as the piece progresses, expressing everything they don't say, everything that isn't said, all the silences, everything they can't put into words, are expressed here through music.
The sound we hear during the rehearsal isn't the original mix of the song, but rather the sound we hear in Nozomi's ears. Some moments of the song are heard more clearly, others more muffled, reflecting her confusion throughout. Sometimes even the flutes sound quiet, suggesting that at times she can't even hear herself. But what never stops sounding loud throughout the sequence is the oboe. Now unleashed, revealing its limitless potential.
Every fingering, every gesture, every shot that pans across the different instruments and characters, the moments where the screen blurs, everything is a demonstration of the love and enormous dedication behind each of KyoAni's works, and one of the highest points of this is the soundtrack, with two great maestros behind this film:
We can start by talking about Kensuke Ushio who had already created some masterpieces like A Silent Voice, and here he knows how to reflect the softness that sets the mood for this film visually, not only by immersing himself in the story by adding elements like the sounds of footsteps to his songs, but also by creating the same atmosphere that surrounds the film itself: a fragile and calm one, without any strong tension or effusive moments. His songs are part of the feeling that makes you feel like you're part of the story, because throughout the OST there's a subtlety that makes it fit perfectly into everything that's happening throughout the film. The song names also convey that, naming things that are part of the characters' lives. All done in a careful way, all done in a passionate way, everything makes this soundtrack something unique that no one else could replicate.
And on the other hand, we have the person who gave us this symphonic piece and many others that play throughout the anime: Akito Matsuda gives us a masterclass on how to tell a story with music. It's 22 minutes that feel like 3.
The first movement lives up to its name by setting the scene for Liz's frequent days. I'd even say it reminds me a bit of the soundtrack to the Pokemon games. It has a ton of interesting passages and moments where each instrument shines its magic. It has that oboe solo (which lets you hear the leitmotif of the piece, which would be heard more in the third movement) to balance the everyday atmosphere with that of Liz's loneliness.
We move slowly with the second movement, the rain and the arrival of the bird. Suspense dominates, and here is where we begin to feel (completely unverifiable, it's just something I thought of) the influences of Borodin's Polovtsian Dances (this piece also plays an important role in Mizore and Nozomi's story; there may be some connection there). "New Family" is the name of the movement and gives us the most peaceful moments.
The glory of the third movement is the best thing I've heard coming from any movie or series. There are no words to describe it properly, but it's like touching the sky with your hands. Everything you hear feels like few things in life, and to this day it still gives me goosebumps.
-----------------
#
--------------
And To the Distant Sky is how this piece ends, everything is released for a closing white background, to forget all the tension, and after playing the third movement, our protagonists can experience their fourth movement.
img220 (https://64.media.tumblr.com/2ed19df2f3a33fa4b444bd045cefe21d/877324796e1780c3-fa/s1280x1920/258a7431c7e9f796f4ab64e02fa31686a063e3a3.gifv)
We arrive here, at the pinnacle of everything experienced in this story.
img220 (https://i.pinimg.com/1200x/49/4c/93/494c930a13c433ee0ecb4546d45f036b.jpg)
All the themes and emotions touched upon in the film collide in this scene. Every time you watch it, you can end up with different ideas due to the number of ways it can be interpreted, by what is said, or by what the visuals tell us.
Something I didn't notice the three times I watched it (and read about it later) is that after Nozomi says, "I love the sound of your oboe," her eyes indicate that she's waiting for a response, for Mizore to tell her she loves her flute playing. When she doesn't get one, she starts laughing her head off, deflates all tension, and thanks her repeatedly, and Nao Toyama (Nozomi's voice actress) explains that the meaning is "that's it," that it's time to move on. Watching Nozomi walk, you realize she's not the same as always. She begins to remember how she met Mizore (she remembers it very clearly despite having said no), and that's when she returns to the state we know her in. The two birds, which had flown one by one every time they were observed through the windows, now walk together.
img220 (https://pbs.twimg.com/media/DuODofvU8AITp1x?format=jpg&name=large)
This image represents the two of them: Mizore is blue, Nozomi is pink (all the Hibike characters generally have colours that identify them). This is where Nozomi understands Mizore, and that's why the pink goes so deeply into the blue. The times I saw it, I had interpreted it the other way around (wrongly), seeing it from the perspective that Nozomi was the blue one (bigger, perhaps because of her social life) and Mizore was the pink one (smaller, but capable of going much deeper). Later, I found out that wasn't the case.
Something I find beautiful about the film is the kind of double message it conveys, understanding that love also means letting go, but at the same time embracing unity. That you can let go of the person you love, but you don't have to separate, that differences don't have to mean distance, and that adversity doesn't have to break anything. "Learning to let go," yes, but also learning to hold on, repair, care for, love, and not give up when things get complicated.
-----------------------------
We've been on an important journey throughout this entire time. We've never left Kitauji until the final minutes of the film. We leave the school behind, we leave the conflict behind, we leave the tension and melancholy behind.
You'll already know this, but the protagonists walk at a fairly similar speed when they exit at the end, with Mizore taking the lead at times because there's no longer any imbalance or differences between them. There's unity above all else. What was once divided is now one.
img220 (https://i.imgur.com/TFVuJhq.png)
Happy ice cream!
Thank you for reading this whole journey that took me over a month to finish. I'm new to this and I wanted to start with my favorite movie from the whole anime world. I'm a young kid who hasn't experienced much yet, but I feel like I did the best I could, and I hope you liked it as much as I enjoyed writing it.
#
#
#
---------------
#Call it an epilogue
Maybe from one point of view we're all Liz, and from another we're all the bird. Maybe I've been the bird to some without even knowing it, but what's certain is that if I've had to open the cage or fly away from great friends, time or distance has distanced us a little. I can live with that, but with someone, it's a one-off.
When I wrote the review a few months ago, I talked about how the question sometimes came up, but looking back today, it's no longer about the question but the statement, because I'm sure of it, and this is about the fact that one day