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#suzume spoilers
ravenatural · 1 year
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no okay I just saw suzume ( already tagged this post for spoilers but this is a warning that they lie ahead for anyone who needs it ) and I can’t stop thinking about how none of their goals could have been accomplished without help from total strangers like
how many long stretches of journey were there, where they never would have made it in time to close the doors before it was too late, were it not for strangers giving and repaying kindness alike?
even from that very first door, it’s implied that if Suzume hadn’t jumped in to help close it, Souta likely wouldn’t have been able to at all. Suzume could have listened to him and run—she chose to help him instead
while Suzume and Souta were the only ones with the ability to actually see and do anything hands on about the worm, it was the kindness of strangers willing to lend a hand that made it possible for them to prevent disaster
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kimbapisnotsushi · 1 year
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serizawa is so fucking funny. he dresses like some shady loan shark scammer but wants to be a teacher. he lied about souta owing him money for no reason whatsoever. he got a beat-up car for cheap and just patched up the door with duct tape when it fell off. he has a road trip playlist and switches songs to match the mood. he was willing to drive a whole seven hours to help this girl he barely knew find his friend no questions asked just because he had the tiniest bit of faith that she knew what to do. like yeah sure souta is hot or whatever but serizawa stole the whole fucking show and i've got nothing but massive respect for him he is THE king of all time and everyone should know it!!
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OH SNAP THE FACT THAT SADAIJIN IS SO MUCH BIGGER AND STRONGER AND THAN DAIJIN
Sadaijin because his gate is in the heart of Tokyo where life is rich and bustling and while the gate is still in a place forgotten, the people still live to nurture the land on which it sits. And also highly likely that since his gate protects against the head of the worm, he will move with it and so remains it’s keeper this whole time.
Meanwhile Daijin’s post moves around often and has been broken before. And you find it in the middle of a forgotten town where no people go near. He doesn’t hesitate to discard his position as keystone to fill that loneliness. Which suggests the western keystone does it much more often than the eastern one. That’s why Daijin is weak and smalland emaciated and desperate for love from someone who has offered him kindness.
Which the whole film is about. Community kindness. Strangers helping those in need. First Suzume helping Souta close the door. Then feeding Daijin when he comes by. Both are moved by her kindness and try to repay her along the way. And this kindness continues to get paid forward as numerous people help her out along her journey. And she doesn’t hesitate to try and return the favour. She helps clean at Chika’s house when they let her stay over. She helps the Mama with her bar and babysits her kids.
Tl;dr: Sadaijin is big boy and stronk bc not lonely. Daijin is small boi and weak bc lonely. Suzume helped him not feel lonely anymore. But he still returned to his post because he loved her.
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retro-friki · 1 year
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Men will literally let themselves turn into a chair and make a teen girl embark on an epic journey to save them in order to make them realize that they want to live and they're loved by others, rather than go to therapy.
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kanamesengoku · 10 months
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– I return them to you!
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aswedishweirdo · 1 year
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Suzume was such a heartfelt movie with a great balance of silly and serious!
but honestly one of the best parts of it for me was the guy who for the most part just thought he was caught up in the weirdest family drama and just kept trying to match the roadtrip music to the different mood swings
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azumasoroshi · 1 year
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suzume no tojimari spoilers ! hi guys im Insane
literature analysis brain is going haywire so here’s a bunch of incoherent ramblings some themes motifs and symbolism i love in this movie because AAAAAAA
Love and Sacrifice.
Obviously, but like the different kinds of love and devotion and how they’re never perfect and sometimes self-destructive but they’re so powerful and just waughhh. It was so important to me how after exploding at her Tamaki (suzume’s aunt, ik im not the only one who forgets names) was like “you know I don’t feel that way all the time, right?” like not denying that yes, she has felt exhausted of taking care of Suzume and sometimes wished she didn’t have to take care of her, trying to be the parental figure she needs while also trying to not encroach on her sister’s memory. It means so much to me that she didn’t deny those feelings but instead told Suzume that it’s not how she always feels, because loving someone means sacrifice and ewughghgghfgfh im not putting this into words well but htrggfhgf.
and ALSO the reciprocation of kindness with daijin - as thanks for the taste of freedom at last, and wanting to be with someone whom you love but not really comprehending that what they want (that “suzume doesn’t love me” killed me) and how by the end daijin helped her pull souta out and sacrificed himself for suzume because he really loved her ggrgfggfhfnfnch
And just. everyday love. This is kind of a mix of themes and motifs but every time we flashed back to the memories of whatever abandoned place they were in - the simple “good morning”s and “be back soon” and “it’s so hot”s made me choke up. the mundane love of Chika and Suzume in their newly found friendship, Rumi’s kindness in picking Suzume up off the street and her love for her children, Serizawa’s platonic love for Souta letting him drive these two crazy women with crazy beef for 7 hours across Japan, there’s just so much expression of love and the hardships people go through because of it and rhgrjgrjhgdhgjhb
Mourning and Closure.
Makoto Shinkai himseld said that he wanted to write a story about “mourning deserted places” (at least according to Wikipedia) so this one is all but textual but like yeah. the motif of opening/closing/locking doors and locking the bike and things like that? AaAAaAaa
To close the gates, you need to imagine the emotions of people who once lived there - i can only imagine what Souta was thinking in the abandoned bathhouse area, but hrhggejghw the school and the amusement park and the shots we got of normal life in tokyo before the worm revealed itself in the climax, it just. really speaks to the beauty of everyday life. im a sucker for that kind of stuff as both a psychology major and just a weird person who thinks “man i wonder what happened to this person for the past 22 years of their life that led them to be here with me in this moment” whenever i pass someone in the grocery store. Hodaka could let japan be flooded in weathering with you because of his love for hina, but suzume’s whole arc was learning about the common people and living their lives and embracing all the kindness they had to offer to herself and others and it really hits that like. of course she can’t just let tokyo get destroyed to save Souta, every person in all of tokyo is just like Rumi and Chika and Serizawa and they’re all people who love and are loved. She finds herself in Souta’s place as one who stretches himself thin between being a gate closer and studying to be a teacher because he loves life as well, and-
oops i forgot i was talking about mourning and closure
anyway the doors keep getting reopened because the grief never fully goes away and the worm of “calamity” is letting yourself be consumed by the grief and destroying the people around you and not being able to move on, and it comes from the Ever-after becomes ever-after is a place where time doesn’t exist and you wish you could be there forever because it’s where you can relive the events of your past, it’s where you can live in denial that time moves forward and you have to move with it, it’s where Suzume goes after her mother dies because she wants people to stop giving her condolences and just give her her mom back. “Ever-after” in itself is a “happily ever after” - a place where mortals aren’t meant to go, no matter how beautiful it looks. Souta goes there too because he is the catalyst Suzume needs to go back and face Ever-after - and it’s no longer beautiful, but it’s torn apart by grief and everything is in flames. The idea of a keystone as well, locking the memories and hurt away, is one that Suzume removes to relive her memories and puts back in place when she’s ready to move on. htrhgfhgfghfghf. she won’t let souta be the keystone because she refuses to move on without him.
Also both Souta and his grandfather tell Suzume to just forget everything she’s seen, but it’s too late for that because connections aren’t so easily forgotten. Even when Tamaki couldn’t remember telling Suzume she’d be her new mother, that doesn’t change that she cared for her for the next 12 years anyway. Suzume visits Chika and Rumi by the end, and obviously she’s never forgotten her mother, both because her chair was still in her room by the start of the movie and because she looks like her by the end. Even though relationships change, they’re never forgotten in the movie, and I think that’s beautiful, really.
(also cool detail: 12 years ago is when the tsunami that killed suzume’s mother struck. the movie came out in 2023, and the touhoku earthquake/tsunami that inspired this film was in 2011. nice)
Reality vs Fantasy
The scenes where Suzume goes out into public again following stopping the worm from destroying Tokyo were especially poignant to me. This girl’s been going on a fantastical adventure with her talking chair and talking cat, meeting nice people and making friends, excited at the idea that she’s doing something important, but after Souta’s gone she shuts down. Her feet are bloodied, her clothes are destroyed, and people keep giving her strange looks and calling her homeless because she may have stopped the worm but even without being consumed by grief, it still isn’t pretty or picturesque. Standing out in Japanese society is discouraged, as most of us are well aware, but she’s been doing nothing but that with all the running around and talking to chairs and flying through the sky she’s been doing. Without a concrete goal in mind, without Souta as company, she’s alone in the world of adulthood and has no one to tell her what she should do, no Souta to guide her through Tokyo. And without that confidence or charm, people don’t come to her aid like they did before. It’s only once she finds her resolve to save Souta, quite literally walking in his shoes/footsteps, that the next helpful stranger (Serizawa) comes in.
She could imagine those abandoned places as alive, but the truth is that they were abandoned and will stay that way - none of them miraculously revived by the end, unless something happened in the credits that I couldn’t see through all my tears. Reality will not bring those places back, but what really matters is how we carry the memories of those places with us? I think. man maybe it’d be easier to write this post if i had actually seen the end credits
this post is really fucking long so im calling it here 😭 makoto shinkai has done it again. goddammit
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meriyart · 10 months
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makoto shinkai skies just hit different
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lastoneout · 1 year
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I think Suzume once again proves that the secret to writing a compelling and believable romance is to really drive home that your characters have chemistry as friends before you start to sell us on them as a couple.
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fandomsandfeminism · 1 year
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I keep thinking about Suzume.
So the scene when they are on the way to Miyako, Suzumes hometown, and they stop because she feels a quake but it's a false alarm? (Near Fukushima, I assume, given their distance from Tokyo and the trucks of "contaminated soil" they drive past)
And Serizawa says it's beautiful there.
And Suzume just looks so....confused. like she can't begin to imagine this place, so tainted with so much pain for her, as ever being beautiful.
But that's how she has to heal from losing that place- she has to go back, remember how she loved it, remember it's beauty, in order to heal it and heal herself.
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dishsaop · 1 year
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sorry i just have so many feelings about suzume. its about the chair as memories of her mother but also something to rest upon in the present but also the hope for a brighter future. its about how the adult figure talking to child suzume seems like it is suzumes mother, then souta, then you realize its suzume herself. its about there is something terrible and angry and disastrous beneath the surface of the earth and all it wants is destruction and you can never destroy it, only lock it away again and again, its about how japan has suffered natural disasters again and again and all you can do is hold on to the memories of what you lost, rest in the present, and have hope for a brighter future. its about seeing that 3/11 date on suzumes childhood diary near the end of the movie. its about 100 years ago there was the great earthquake. its about "you really think this place is beautiful?". its about daijin is tiny and abandoned and desparate for any sign of affection, alone in the mountains, and saidaijin is huge and powerful at the heart of tokyo and how soutas grandfather says "my old friend i entrust it all to you". its about the grief of loss and the healing of remembering what was lost and that the loss never really goes away but the future can shine. its about grief made physical. its about love made physical. its about devotion, and how suzume and her aunt love each other and resent each other and that doesnt diminish the love. its about "i lied, i actually owe him money" and about serizawa dropping everything to travel across an entire country on the word of someone he only met for a few minutes. its about "im afraid of a world without him" because yes she loves souta but souta as the chair is her memories and her future and she is afraid to live in a world without her grief and her hope. its about the women who helped suzume, over and over, on her journey, ride or die from the word go. its about locking doors and about opening doors and about daijin offering to go back to being a keystone. its about love and loss and hope and every time i think about it i get so emotional i go insane. and i havent even started on the music and the visuals. im biting my couch
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that scene where suzume's experiencing the memories of her hometown and it ends with all these people saying "bye, see you later :)" to their loved ones. ough how am i supposed to be normal after that.
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kimbapisnotsushi · 1 year
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also i'm VERY impressed with how much suzume adapted modern technology to move the story along. everyone's synchronized earthquake alerts. the maps app to show just how far suzume went (and hence how far she was willing to go to follow her heart). following daijin through people's social media posts. suzume's one resource that allowed her to safely run away being her smartphone. it was all so clever and brilliant and it's the proof everyone needs that you CAN properly integrate modern tech with fantasy and magic so if i ever hear shit about it again i WILL be fighting people thank you that is all!!
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SUZUME SPOILERS
My thoughts as I watched the film
Me: This fucken cat. 🤨
Me: This fucken cat! 😡
Me: This… cat… 🤔
Me: HOLY MOTHER OF BIG ASS CAT 😧
Me: This fucken worm! 😡
Me: This fucken cat 🥺
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no because suzume is so real. picks up and chases a ratty-looking demon cat half way across japan simply because a hot guy needed help. leaves her panicking aunt’s messages on read. gets help from random women & immediately becomes besties with them. The hot guy in question turns into a chair & generally flops in almost every aspect of their interactions. doesn’t matter, she still falls in love with him in less than three days
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kanamesengoku · 9 months
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