12 minute read
Arts & Life
by The Cord
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Thoughts on Jujutsu Kaisen 0
BRONTË BEHLING MANAGING EDITOR
On March 19, I had the opportunity to see the prequel to the extremely popular series Jujutsu Kaisen. Titled Jujutsu Kaisen 0, the film takes place a year before the series itself and is directed by SeongHu Park and produced by TOHO Animation.
The story follows Yuuta Okkotsu, a cursed high school student who has a ‘tie’ to Rika - his childhood friend and sweetheart who turned into a powerful spirit after her untimely death. Teaming up with Satoru Gojou and the students at Jujutsu High School, Yuuta must learn how to control Rika and defend the world against those in the Jujutsu world who wish to harm all of humankind.
It must be noted that Jujutsu Kaisen 0 is very violent and features quite a bit of stomach-churning gore and frightening images. While it is rated PG-13, it is FAR from Disney fare and is not appropriate for children. In my opinion, it suits those 14 and up best.
As someone who is not a fan of the Jujutsu Kaisen, I did not think that I would enjoy this film. However, as someone who is an anime fan in general, I knew I had to see it anyway. Walking out of the theater afterwards, I was surprised to find that I had really enjoyed myself.
Animated by MAPPA (the studio responsible for animating the final season of Attack on Titan), Jujutsu Kaisen 0 looks gorgeous.
The fluidity of the animation is masterful and this is a film that has to be seen in theaters in order to get the full effect and experience the animation as it should be seen. It is very clear that a lot of time and effort was taken to make the film a visual masterpiece - and they succeeded.
One of my criticisms of Jujutsu Kaisen was that the plot felt extremely convoluted and the abilities of the characters were muddled and not explained well enough. None of these issues are present in Jujutsu Kaisen 0. If you have not seen the anime or read the manga, you would still be able to see this film and understand what is going on. It also works as an introduction to the series itself - if you wished to watch the anime afterwards, you would be well equipped to understand the goings on and who the major players in the series are.
The strength of Jujutsu Kaisen 0 in comparison to Jujutsu Kaisen is that, as a film, it is forced to tell a cohesive and structured narrative. It has to have a clear beginning, middle and end - something that the anime does not have. To me, this is one of the reasons that I enjoyed Jujutsu Kaisen 0 more than the series. While Jujutsu Kaisen jumps around wildly with time skips, plot divergences and irrelevant scenes of dialogue Jujutsu Kaisen 0 stays on track and every scene works to paint a picture of the world the characters live in. Characters like Satoru Gojou who play a major role in the anime are at their best in this film, moving the plot along in comparison to the anime where they often disappear for episodes or do very little.
If you are an anime fan or curious at all about Jujutsu Kaisen, you must see Jujutsu Kaisen 0. Even though I am not a fan of the anime overall, I liked it enough that I am considering going to see it gain before it leaves the cinema - a major compliment.
Animated by MAPPA (the studio responsible for animating the final season of Attack on Titan) Jujutsu Kaisen 0 looks gorgeous. One of my criticisms of Jujutsu Kaisen was that the plot felt extremely convoluted and the abilities of the characters were muddled ...
ENTERTAINMENT
AMICHAI ABRAHAM
ARTS EDITOR
Despite their ubiquity and their ability to destroy the movie theatre industry, most would agree that streaming services are pretty amazing. You already know about the big names; Netflix, Disney+ and Amazon Prime (to name a few).
However, for some who are more serious cinephiles, some of these services leave a lot to be desired in terms of content. While these services are rarely lacking in recognizable titles, finding suitable foreign or independent films is often challenging. I say this, hoping that the authorities don’t read the arts and life section. As I am unable to find many of these outsider films, I sporadically resort to piracy.
In this day and age, illegally streaming movies is far from an arrestable offence. Still, I doubt that I’m the only one who feels shame when pirating with the knowledge that the creators aren’t receiving any money for the entertainment they have provided me with. It’s for reasons like this that I decided to try out a streaming service called MUBI.
MUBI is a streaming service oriented to people who are interested in lesser-seen films. Every day films are being added and removed to continue to have a fresh catalogue of films that would otherwise be hard to track down.
Additionally, they bring your attention to films that would have otherwise gone under your radar. It has rating and review features so people can compare their thoughts on the films at hand. While I think the display and organization of the website could use some work, it was easy to navigate once I got the hang of it.
To give an impression of the quality of films featured on the service as well as their diversity, I randomly selected four of the films on the service and gave them a watch. The service is always full of recently released films in addition to older pictures. The four I selected were all released in either 2020 or 2021.
The first film I watched was a Japanese film called Wife of a Spy (2020). Taking place in WWII-era Japan, the film is a typical spy espionage story. Of the four films, this was the one I was least impressed with as I found the on-screen somewhat drab and the story to be predictable. Still, there was good cinematography throughout and the acting was well done.
Next, I watched MAAT (2020). While technically an American film, it would be more accurate to call it an Indigenous-American film. The film is very experimental in its presentation, giving the impression that it was an intensely personal project for director Fox Maxy. I suppose it would be considered a short film documentary as we experience disconnected bits and pieces of reality for this director. The film is about the rights of Indigenous groups and this discussion is explored through the use of prominent Indigenous activists giving speeches/being interviewed and by watching the camera operator show how the treatment of Indigenous peoples affects their life.
The method of messaging and visual style is all very innovative - it’s just a shame that this is the only film of Maxy’s that I’ve been able to watch.
Afterwards, I watched a French film called Honey Cigar (2020). This film is a bit of a genre blend; part romance, part coming of age, part drama, tied together in a feminist bow. The characters in this film I found to be very interesting as well as the lighting. As someone who typically isn’t a fan of romantic films, this one broke the mould in a really enjoyable way. The last film I watched was a Brazilian film called Madalena (2021), and it is the best film I’ve watched on MUBI so far. It’s an anthology all centred around the murder of a trans woman, showing the reaction of the different parties involved. More than that, the film is a guide to contemporary Brazilian life and society. The shot composition and camera work in this film was beautiful and the chemistry between the characters felt real. Perhaps realism is the defining characteristic of this film as even when the film introduced unrealistic concepts, it did it in a subtle way that didn’t feel out of place. This is a film that made the subscription feel worth it to me. If these types of films sound like the kind you’d be interested in, then maybe MUBI is the streaming service for you. In my personal opinion, the service is worth every dime.
Editorial
OPINION EDITOR SAMUEL DUFFY opinion@thecord.ca
EDITORIAL
Review of Turning Red
AMICHAI ABRAHAM
ARTS EDITOR
Pixar has been one of the most relevant animation studios for nearly 30 years. Whereas the products of some studios have become formulaic and drab, Pixar has continued to innovate the genre creating modern classics like Toy Story (1995), Finding Nemo (2003), Up (2009) – the list goes on.
Before watching Turning Red it had been a while since I’d watched a Pixar movie and I wasn’t expecting much but it’s times like these where I’m happy to be incorrect.
Turning Red isn’t Pixar’s best film, but it doesn’t have to be. It’s a fleshed-out rock-solid film that I’d happily watch again. Like many good films, it brings something new to the table, in this case, it was the presentation and style.
There is a constant flow and satisfying tempo the film carries from scene to scene. It helps Turning Red create its own aesthetic, thereby separating itself from other films of the genre. The cutting between angles all feels very natural, you wouldn’t notice it unless it was being looked for.
The animation is easily the best part of the film as everything onscreen moves seamlessly. They got the same director that did the short film Bao (2018) which likely helped the animation look pristine. There was even a little homage to Bao in the form of a dramatic cooking scene which is one of the most realistic animated sequences that I have ever seen. The film is worth watching for this scene alone.
The movements of the characters all feel very deliberate and carefully considered, it’s one of those rare films where you could tell what’s going on if you removed all of the sounds. The character design itself is round and bubbly which fits the vibe the film emanates, while also providing an interesting juxtaposition when more mature jokes are made. The character’s personalities are reflected in their appearance which, while obvious, is a point that would fly under the radar of a lesser production.
While I’ve largely praised the character design, the characters themselves are more hit and miss. My favourite character was probably Priya who was presented as a comically dry contrast to the other members of Meilin’s friend group.
On the other hand, I’m getting bored of characters like Abby. Her character is that she’s loud and “crazy” but still wholesome. I feel like it’s an archetype we see constantly and aside from one scene in particular where she got a laugh out of me, I otherwise could’ve done without her.
The protagonist Meilin was competent enough where I could buy her gradual arch, but she lacks the x-factor that many other Pixar protagonists have had. She’s certainly no WALL-E, Mr. Incredible, or Lightning McQueen.
The story is generic, it’s basically Teen Wolf (1985). A nerdy eighth-grader with an embarrassing mother suddenly becomes popular after she begins transforming into a giant red panda whenever she gets excited.
The story beats are predictable, but the messages (while again generic) are presented well. The film hopes to teach young audiences morals about self-acceptance, honouring tradition, and balancing passions with responsibilities.
One notable aspect of the story and script however is how the film seems more oriented to contemporary society. To my knowledge, it’s the first Pixar movie to discuss and joke about menstruation. It wasn’t just a throwaway or forcedin aspect of the film but it fits with the plot and with the underlying theme of growing up. Also pushing boundaries is another part of the film where the friend group begins merchandising the red panda for monetary gain and it was a lot of fun to watch. I think animated films could excel with more traditionally taboo themes like these that find a middle ground between happy-go-lucky idealism and adult topics.
Overall, I was pleasantly surprised by Turning Red largely by the quality of animation and by the willingness to explore more mature themes. While perhaps it won’t be fondly remembered as a Pixar classic, it is still a fun film that the whole family can enjoy.
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EDITORIAL
Party culture in university is a double-edged sword
CRYSTAL XUE
LIFESTYLE EDITOR
Whether it’s teen movies or music that peaked when Kesha’s “TikTok” was topping Billboard charts, the media celebrates party culture. This is understandable – sometimes a sweaty crowd under LED lights is the only place where we can feel young.
From my experience, a college party is an alternate universe where it rains Tito’s vodka and the bass never stops booming. Depending on who’s there, it’s either paradise or purgatory.
The latter usually occurs when I find myself surrounded by strangers. Chances are, my introverted tendencies will take over; I’ll be huddled on the couch fiddling with my hands, feeling overexposed in my crop top. Every so often, I’ll introduce myself to the friendliest looking face there while trying to ignore the knots in my stomach.
If I’m among friends, though, or strangers with whom I was lucky enough to have clicked, the night feels like a blurry coming-ofage movie that carries into early morning. We’ll be doubled over in laughter at insignificant jokes and trying to gain control of the aux.
For people like myself who enjoy outings with small groups the most, parties can be exhausting. That said, they can also be ideal settings to socialize and meet new friends. I can’t help but wonder, though, how genuine these connections truly are.
After all, conversations yelled over blaring music tend to revolve around surface-level topics. Games of beer pong don’t reveal much about a person apart from the skill of their hand-eye coordination after seven shots. Not to mention, I’ve found that the best friends are people with whom I have fun in any state, not just when drunk.
Even though parties may not be ideal settings for forming deep friendships, they still contain value. If anything, they’re opportunities to practice much needed social skills. Besides, events don’t necessarily have to be profound to matter- entertainment is important too.
In all honesty, socializing always comes with costs for me. If I push myself to join a party, I’ll have a nagging worry that I’m not being myself or having enough fun. If I go with my instincts and spend time with a few close friends instead, I’ll feel as though I’m wasting my youth. I’m unsure whether others also wrestle with this dilemma or of the solution, if any, but I’m hoping I figure it out before I’m too old to know.
Whether it’s teen movies or music that peaked when Kesha’s “TikTok” was topping the Billboard charts, the media celebrates party culture. After all, conversations yelled over blaring music tend to revolve around surface-level topics.
