It took only a decade for studio Colorido to evolve into a powerhouse. Producer Hideo Uda founded the studio without a particular artistic vision, instead focusing on its business ventures. Uda figured that if he shielded his employees from bad industry practices, eventually their creativity would develop Colorido’s identity. And they did! Newcomer Hiroyasu “tete” Ishida, who gained popularity in 2009 with Fumiko’s Confession, quickly becoming the leading director because of his imaginative vision and all-round skillset. His talents were bolstered by Yojiro Arai, who blossomed into an incredible background artist during his tenure at Ghibli. That tag team was responsible for Colorido’s co-debut: Hinata no Aoshigure, localized as Rain in the Sunshine, whose style indicates what the studio came to be.

Colorido differentiate themselves by digitizing nearly every step of their production. Their time-efficient processes free up resources poured into character movement, which is necessary for Hinata no Aoshigure’s motion heavy storyboards. Ishida benefits greatly from digital developments: he thrives in 3D spaces with his crazy dynamic camerawork and he uses loads of CG objects to create rich compositions when needed.

Hinata no Aoshigure is cheerful with Haruko Nobori’s coloring and silly character acting through which it develops its cast. Hinata is in perpetual motion through his facial expressions, hair flowing in the wind, or by stumbling literally head over heels for Shigure. Ishida taps further into the movie’s joviality by connecting the visuals to Hinata’s feelings: he finds peace through drawing, his comfort zones turn gloomy with him, and in his mind he’s flying after a train on a big swan when really he’s chasing a car on foot. Soaring through the skies and backed to a power-pop soundtrack, Hinata conjures an entire world filled with organic elements that contrast his reality: birds versus vehicles and vegetation on asphalt. While Ishida’s photography suggests Hinata’s imagination is greater than the movie can present, it’s still memorable because its landmarks like the helipad building or train ramp are used for great setpieces. Even the lamppost Hinata walks into is integral in creating that immersive space.

Technical jargon aside, ‘feeling’ is ultimately the most important factor in anime and Hinata no Aoshigure has got that in spades. It feels like an adaptation of a happy picture book, yet is crafted perfectly for its medium. The visuals and story are reminiscent of Ghibli, but charming enough to not feel derivative. It’s a self-celebratory 18 minutes wherein an artist overcomes obstacles by drawing strength from the world he conjures. Hinata no Aoshigure simply radiates a passion true to the studio’s founding philosophy: Colorido has become a place where creators make what they love.