Omoide Poroporo

Taeko Okajima is a 27-year-old, independent woman who spent her entire life in Tokyo. Looking to unwind from the rush of the big city, she decides to visit her family in the country to help out during the harvest.

On the train there, Taeko vividly recalls her memories as a schoolgirl in the initial stages of puberty, as if she is on a trip with her childhood self. A young farmer named Toshio picks her up at the station, and they quickly develop a friendship. During her stay, Taeko forms strong bonds with family and friends, learning the contrasts between urban and rural life, as well as the struggles and joys of farming.

Nostalgic and bittersweet, Omoide Poroporo takes on Taeko's journey as an adult woman coming to terms with her childhood dreams compared to the person she is today.

[Written by MAL Rewrite]

Okajima, Taeko Main

Honna, Youko Japanese

Toshio Main

Yanagiba, Toshirou Japanese

Hirota, Shuuji Supporting

Masuda, Yuuki Japanese

Taeko's Father Supporting

Itou, Masahiro Japanese

Toko Supporting

Komine, Megumi Japanese

Abe Supporting

Sato, Hirozumi Japanese

Taeko's Grandmother Supporting

Kitagawa, Chie Japanese

Baccha Supporting

Itou, Shin Japanese

Kiyoko Supporting

Ishikawa, Sachiko Japanese

Suzuki Supporting

Ishikawa, Masashi Japanese

Suzuki, Toshio Producer

Takahata, Isao Director, Theme Song Lyrics, Screenplay

Murata, Kazuya Episode Director

Momose, Yoshiyuki Storyboard

Reviews

Oct 18, 2025

elumizu

Recommended

Memory doesn’t just echo in the past. It bleeds quietly into the present, shaping the choices we make without us even noticing. Only Yesterday lives in this space between recollection and reality, unfolding with a stillness that feels almost like breathing. The story follows Taeko, a woman caught between who she was as a child and who she has become as an adult, weaving together present-day events with vivid memories of her ten-year-old self. Plot-wise, it’s deliberate and reflective, less about external action and more about the internal landscapes of identity, nostalgia, and personal growth. The plot line moves gently, blending past and present in ... a way that feels natural, though the slow pacing and quiet tone may alienate some that expecting a more traditional or fast-moving narrative. Its complexity lies in how it frames ordinary moments as turning points, finding meaning in the mundane rather than relying on heightened drama. Taeko is an introspective and grounded protagonist. Her adult hesitations and childhood memories intertwining to create a layered portrayal of someone searching for where she belongs. Side characters, from the warm and earthy Toshio to her family members and childhood classmates, are less about individual arcs and more about how they shape Taeko’s perception, serving as emotional mirrors rather than drivers of the plot. The worldbuilding is subtle yet rich. The rural countryside contrasts sharply with the Tokyo cityscape, reflecting Taeko’s inner conflict between the simplicity she longs for and the modern life she’s outgrown. The internal logic of the narrative is consistent, though its transitions between timelines depend more on emotion than clear structure, which may feel too abstract for some viewers. Thematically, the film meditates on memory, self-acceptance, and the quiet courage required to make peace with the past. Its moral core is not delivered through overt lessons but through the gentle realization that growth often happens in silence. Visually, the animation by Studio Ghibli is restrained but deeply expressive. The present rendered with grounded realism, while the past carries a soft, watercolor-like touch that blurs the edges like a half-remembered dream. The soundtrack is delicate, accentuating emotion without overwhelming it, while the voice acting captures the quiet ache of nostalgia and the tender hesitations of adulthood with remarkable subtlety. Only Yesterday is not a story that tries to dazzle with spectacle. Instead it lingers softly, like a memory you can’t quite shake, offering a deeply human reflection on the way our younger selves never fully let go of our hands.

Reviewer’s Rating: 8

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Dec 27, 2024

MidniteAndBeyond

Mixed Feelings

I was expecting the pineapple scene to be 10 times longer with how much I've heard it being memed on over the years.

I know a lot of people hate this one, but I thought it was ok. Definitely could've been shorter, but I actually really liked the whole layout of the film; looking back on childhood events, longing for simpler times and mourning the loss of what could have been, however small it may be in retrospect. Sometimes the smallest things take up the biggest space in our hearts, and I could definitely recall moments where I was feeling the exact same way that Takeo ... was, throughout the film. It's a very simple, quiet film and I can definitely see people being bored with it. I guess it's all just a matter of what you've personally been through with your life. For Ghibli standards, it's nothing extravagant. But it does have signature elements of brilliance that I haven't seen in other works, which I appreciated.

5.5/10

Reviewer’s Rating: 5

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May 22, 2025

1stDecame4Danime

Not Recommended

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This movie has a shallow plot about a SoL coming-of-age child's story which thrusts all the worst possible things together. It also presents shallow and cringey kiddy romance to pointlessly parallel the shallow excuse of romance that the mc falls into as an adult. Of course neither plot actually goes anywhere. The lack of plot makes it hard to find any of it interesting, and even the art/music is unremarkable.
In actuality, the movie is an excuse for preaching of city bad, farming good. Follow traditionalism, be good worker, get married, be a stay at home mother like everyone tells you to, etc.
This is among the ... worst Studio Ghibli movies in my opinion.

1/10 (where 5/10 is average)

Reviewer’s Rating: 1

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