Lonely Castle in the Mirror is the latest offering from the prolific GKIDS animation distribution machine. It joins a rapidly expanding library of imports that has taken the medium from its genre-bending cult classic heyday to a rapid-fire onslaught of films globally inspired by anime’s esoteric beginnings. Along with the rising number of films created within the genre, the possibilities of experiencing disappointing mediocrity from the time spent watching them grows. Everything isn’t for every audience and there is subject matter that may endear one generation while turning off another. This is the beauty and ugliness of the artform. The same tool that’s used to bring together is also capable of dividing. There is an audience that Lonely Castle in the Mirror should directly speak to, yet the conversation isn’t for all of us.
And, it should have been.
Based on the Japanese novel of the same name by Mizuki Tsujimura that was later adapted to manga by illustrator Tomo Taketomi, Lonely Castle in the Mirror is a fantasy about Kokoro (Ami Toma), a school-aged teen who suffers from anxiety while dealing with bullying and abject loneliness. Her suffering keeps her in self-perpetuated isolation, causing an uncomfortable rift with her caring mother and only having respite from a patient and supportive teacher, Ms. Kitajima (Aoi Miyazaki), who consistently checks in on Kokoro and her mother. The film doesn’t waste time introducing its fantastical elements as Kokoro is pulled into an alternate world through her full-length bedroom mirror and relocated to the lonely castle that the film takes its namesake from. An isolated castle sitting atop a jagged mountain in the middle of sprawling ocean is where Kokoro meets six other teenagers who are all guests of the mysterious and caustic nightmare-fuel host, Wolf Queen (Mana Ashida). The castle becomes a refuge for the group of teens, who are given an ultimatum that they can come to the castle between certain times and have access forever, or they can look for a special key and one of them will be granted any wish that they want, sending them away from the castle with no memory of their time there as friends.
Lonely Castle in the Mirror starts its fantastical world-building with artistic moments of vibrant colors and grandeur, playing with the idea of Kokoro’s introduction into its alternate world as a sort of Alice in Wonderland-esque adventure. Alas, the fantastic elements wane as the group of dejected teens start to coalesce through friendship. The muted moments of grandeur and colorful brilliance fade and the time spent in the lonely castle filled with new friends becomes nothing remarkable to watch. It isn’t until the end of the third act that the film gains traction and demands attention. The best moments of the film present themselves in one climatic flashback sequence where we learn more about the group of teenagers’ lives on the other side of their mirrors. The segment is heartfelt and thought-provoking and should serve as a talking point for teenagers who aren’t capable of adequately explaining the stress and fears they face during the formative years of their lives at the hands of their peers and parents. It is indeed the highlight of the film, although the wait to witness it does not substantiate its worth.
With such a remarkable message buried into the final moments of the film, only a select few of its targeted demographic would be privy to attentively relating to it and those who could be allies or supportive of that demographic would have mentally tapped out from the dismal journey getting to the pivotal moment. There is a lot to say, but it’s said too late.
Lonely Castle in the Mirror indeed has something to say. As a “YA” film, it should be a beacon for young adults who feel but aren’t quite capable of conveying their feelings of societal induced anxiety to those who care to listen. As a film that has the potential to be generally accessible for anyone else, the attempt is spotty at best. In a rising tide of animated films that are looking to honor the intricate art of storytelling and animation, the film’s dead weight at its center sinks it, potentially leaving the important message at its tail end inaccessible to those who may need to heed it.
Photo courtesy of GKIDS
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