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Many films have bittersweet endings, but very few build to them through the very structure of the scenes preceding it. The past ten minutes of the film drew everything from ire and hatred towards Ame’s ignorance of his mother’s feelings, to fear of what will happen with Yuki letting her secret be revealed, and exhilaration when she is accepted by Souhei. The technique he uses evolves throughout the film from its early moments, peaking at the very end of the film in Ame’s parting scene. Hosoda also uses the dichotomy for character development in the form of the tsundere of the film, old man Nirasaki, who straddles the line between viewers’ love and hate by being a crotchety old man and someone who helps Hana survive on the mountain. Constantly, the viewer’s fears of Yuki being found out– an emotion matched by her own mother’s emotions– are countered with just how adorable she is throughout the whole exchange. My favorite of these scenes is when Yuki is seen by some of the townsfolk in wolf form and manages to trick them into thinking that it’s their pet who just happens to wear the same coat– and gets away with this all while actually transforming in front of them.

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The most notable instances usually involve the fear that the children’s secret will be discovered alongside a full flood of adorableness. This dichotomy of emotions is something that pops up often throughout the film.

Her husband died in wolf form, so the image we get at the same time we’re being bombarded with negative feelings is a comedic one of a woman crying and fighting to get at a dead wolf that has been dumped into a trash bag and thrown into a garbage truck. Hana’s horrified realization that her husband had been killed and fit of agony as she tries to recover his body is matched by the situation it takes place in. The first time I noticed this happening was when the father was found dead in the river. Hosoda has shown in Wolf Children a remarkable knack for creating a scene, or moment, that elicits two completely opposing emotions at the same exact time. Time and time again, the film was drawing out and nurturing feelings that I, at times, found hard to specify– and there’s a reason for that. Of the films of his I’ve seen, Wolf Children is by far the most emotionally compelling to me.

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(I can’t speak on the One Piece film, though, as I’ve never seen it… I think.) Hosoda’s last four projects have been especially impressive, including the entirety of the television series Samurai Champloo (2005) and films The Girl Who Leapt Through Time (2006), Digimon: The Movie: Director’s Cut– also known as Summer Wars (2009), and now Wolf Children (2012).

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It’s no small secret that Mamoru Hosoda has a brilliant track record in animation within the last decade, or even further if you thought that Digimon: The Movie (2000) or One Piece: Baron Omatsuri and the Secret Island (2005) weren’t train wrecks. This film is definitely worth your time and most of what I will be discussing from this point on involves the film’s ending. The narrative is both heartbreaking and endearing and if you haven’t yet seen the film: please do before reading further. After a heartbreaking early separation of the couple, Hana is forced to raise her two half-breed wolf children on her own. For those of you unfamiliar with the film, Wolf Children is the story of a Japanese woman named Hana who falls in love with a man who turns out to be half-wolf.

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Several weeks ago, I was lucky enough to find myself with an evening free to relax in the face of upcoming finals, and to my great pleasure I spent it watching Mamoru Hosoda’s Wolf Children.

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