Nido to Mezamenu Komoriuta

Translated with www.DeepL.com/Translator (free version)

It all starts with the very context of our reality. After the beginning of the disenchantment of the world, the tendency has always been the advance of secularization and rationalism, and consequently the questioning of traditions. From questioning, discontent is born (or the opposite, I can't say for sure), and from the latter is born what many would call the "overcoming" of dogmas and sociocultural conventions until then in force. From the spark to the fire, and from this to the fire, man fanned the flames of progress, and the culmination of this was the Industrial Revolution. The abundance and comfort ... coming from the new mills, aligned with the abandonment of safe and healthy traditions, religious or not, that meant the life of individuals, ended up generating precisely this exchange, of placing progress and change as inherently good and desirable, to the detriment of the static and unchanging, now considered outdated.
One could say, then, that out of this need for inconstancy arises the god Progress, an element of the positivist motto that incrusts our flag. And how does Nido see this divinity so well-liked by the world? As the oppressive shadow that hovers over a decadent city in the form of the great exponent of innovation: the airplane. And it passes by, and obscures the lives of the citizens, and deafens them in their daily lives. Progress is at the door, and needs to be seen and heard; and it is above your small town, for it is superior to this dated lifestyle. And what does this beast feed on? From the training of individuals, inserted into a standard educational system that neglects their origin, their morals, their individuality, their traumas, and their daily lives, an individual represented here by the "bucktoothed boy," a nickname that is confused with his name, for it has long since been suppressed along with his identity, as I mentioned above.
And so, Nido to links the macrocosm to the microcosm: the powerful toast, celebrate and laugh with the new bullet train, and photographers wait anxiously to register such a great event; the boy is bloodied on a filthy floor. The ruler, smiling, signs the paper; the child watches the city being torn down. It doesn't matter that he is starving, that he is despised or tortured, that he has lost his parents, that he spends, in the very visual metaphor of the work, the daytime that is childhood locked away in darkness: the authority ties him to the mechanism, makes him a tool, and erases what he is, all so that Progress will have something to eat.
But the will to be a singular being, to differentiate oneself from the whole, is not caged without consequences: The longer a beast spends in captivity, the more ferocious it will act when free, and this is what we see when the boy, in hallucinations that blend with reality, as in a psychological reaction to try to escape it all, awakens violent desires even towards a benefactor, who only cared for him when he had fallen to the ground, and this scenes before his desire takes control of him and he finds himself stabbing his three tormentors: the bigger boys.
It is also worth analyzing these three characters and their motivations. Also to ensure some sense of identity and distinction, they committed bullying against the protagonist, as this affirmed their superiority. They don't know who they are, but at least they are sure that they are not that notothy boy, because they don't feel the pain they inflict on him. Hurting someone is, therefore, a way of knowing that you are not that person, because, as Evangelion would say, we can perceive who we are through the barrier between us and the other. Let's go back to the line we followed earlier.
Nurtured and praised through all the sacrifices, we believe that Progress will give us freedom, happiness, and will be imperishable, and unchanging in its changing beauty, and perfect. It will fill the nihilism left after the death of traditions, that's what we thought, and so we wipe away what was left of the past to make room for it: after the aforementioned signing of the installation of the bullet train, an extensive and imposing viaduct falls from the sky, over which the locomotive must run. The train: Progress, the viaduct: its base. And this base, on impact, destroys the bakery, the family home, tradition, daily life, the history of that community, so that over its remains, God may dwell. And Progress condemns itself? Do you think that it would pity the weak? All he desires is more power over us, and this we gladly give him.
So man proclaimed and set up his god over the ashes of himself. And he bowed down to him, and asked him to pull him out of the abyss. And what Progress does is abandon him in the void that man himself created. In the last scene of the work, when everything had already been sacrificed and thrown to the earth, a single chimney, the symbol of industry and innovation, white to show its apparent purity and perfection, stands upright amidst the rubble. And then the boy faces it, and it falls to pieces.
Thus, Nido shows us the great nothingness to which our obsession with the modern leads us, the great madness to which we have subjected our peoples, individuals, and history. We praised and nurtured Progress, and it betrayed us. We have placed our hopes in something that has crumbled. We buried the creed, we secularized the world, we laughed at conventions, and these, in truth, were the ones that gave us meaning and security.
I conclude here my cheerful and pretentious exhortation. Some, far more learned than the ignorant me, may come and point out that I have misused this or that concept; I will thank them if they do. However, if you think that this writing has some value and may change your view of the work, which, I well confess, is my goal, consider having a re-experience with the short one, for there is no greater gratitude, for me, than the gratitude of others for something I have produced, material or otherwise. I say goodbye.

Ignore the negative reviews. This little short is great and I feel that it served its purpose well. The protagonist was as compelling as a protagonist can practically be in a work so short that also includes a portrayal of industrialization/modernization. With that said, the work is heavily conceptual and relies on emotional appeal (rather than direct commentary) to deliver its content. As for the sound and art, one can only be so critical of an animation from 1985 with this style. Although flawed, the art and sound did the intended job. Overall, it was definitely enjoyable; I'm glad someone showed it to me before ... I disregarded it based on reviews.

This is f * cked up movie, to be completely honest with you guys.

The synopsis talks about a boy that suffers bullying, but that's not the main focus in this movie. This film has other focus without being properly the bullying problem. I do not quite understand the movie but since the score is low and it was reviewed by such low people, it is the normal that the current anime community (Bleach, Nanatsu no Taizai, whatever..) does not kinda understand since this movie is old for this current era. It has sometimes the 360 ° animation (when the camera rotates around the character) but ... excluding that, it has such a poor animation (it is so bad that MyAnimeList doesn't know many information indeed).

If you have this as a Plan to Watch do not watch this, just drop this movie or else erase it from your library, is not worth the time.
I eventually give it a 3 since I lost time seing this !

so, I'm not quite sure at all what they were trying to do with this movie but to me it feels totally disjointed and without coherence for the most part. it also feels like a mind-control device at times,with all of the flashing and propaganda. storywise, (SPOILERS) it claims to be about a boy who get's bullied; a boy does get bullied but this isn't necessarily the focus, as this feels secondary to the anti-modernization of Japan statements and imagery. Artwise, this at times, looks striking and has very interesting animation style, but at other times, the art leaves something to be desired and the ... animation is done "treadmill-style" with the environment running through the character. sound was only ok, some odd choices for sfx noises, but no real complaints

there is no character development to be found. giving an enjoyment rating was difficult, because I very much did not like this, but I did not hate it, I just felt like my brain was melting the whole time, a la Mars of Destruction

this is the kind of thing that should only be watched with a group of friend.s

Wow. This is a really rough show to watch. I will say up front that it is not very good, but its importance definitely outweighs its quality.

It took one man (Hiroshi Harada) three years to create this 25-minute movie on his own. It's amateur. And crude. With lots of quick cuts and weird scenes, which only add to its experimental nature. After he finished this, he went on to adapt one of the most famous "guro" anime of all time: Mr. Arashi's Freak Show (also almost a one-man effort, and probably the most difficult anime ... I've ever watched).

"Guro" is a genre of anime you don't hear of much in America - basically it is the fetishization of gore, intentionally being as explicit, bloody and offensive as possible. This work definitely edges into that direction, even if there's not much actual gore itself. But the feeling and theme is definitely there, and you can think of this sort of a precursor to Mr. Arashi's Freak Show, as Harada is improving his craft.

There isn't really a story or plot to this. It's really two stories superimposed over each other - a small one and a large one. The more immediate smaller story is about a young, poor, lonely boy with an extremely pronounced "deppa" underbite tooth, who is relentlessly bullied for his difference, without any relief from anyone, anywhere. The larger story (that gets more pronounced towards the end) is the forced modernization/construction of the Narita Airport as it overtakes and destroys the old neighborhood. Although not explicitly said, the two are interlocked in this dark, thematic tale.

Going into this, do not expect a polished work. It is VERY raw. It has many problems. It is very difficult to watch. Some parts do not connect or make sense. Some of it is quite offensive. It's experimental, and art-school. But if you are looking for an anime that has a message and is totally different from almost everything else you've watched, this fits the bill.

People saying this isn't worth your time just have no taste in avant-garde art, so if you do like surrealist and experimental stuff definitely give this a watch. The first song that plays should be more than enough to engage you.

It was made by Harada as a grade final project and you can really tell because of the quality overall but it serves right to add to the charm. It's more of an art-driven story than the other way round. The way characters speak and act add the perfect dose of surrealism, and the only English subs available are so badly translated that it ... enhances the psychotic feeling of the whole OVA.

The socio-political message and background about the protests and airport construction makes for an interesting thought, too, but to me it's mainly the audiovisual part where it succeeds.

If only I knew more anime in this vein, but this is really one of a kind.

Avant-garde anime often portray thought-provoking plots with rich themes, and more often than not, become social commentaries. This 30-minute film can be considered among them. Produced by a single person way back in 1985 (damn missed that 1984 dystopian mark) on a low budget, needless to say, its production value is negligible- art, animation and OSTs are barebones. So for sakuga lovers, apologies, but there is not much for you in the visual department. However, for those looking for intriguing plot elements with minimalistic yet bizarre, raw imagery in its crudest form, you are probably in for a treat. And there’s no dearth of symbolic ... imagery in this short film which I would love to talk about:

SPOILERS AHEAD:





Nido to Mezamenu Komoriuta is set in 1960s Japan- an era that witnessed massive economic reconstruction of the country’s post-WWII ruined economy, the Shinkansen train being its most symbolic representation in both the real world and in this film. The 1960s era, also, is conveniently forgotten for many more uncomfortable facets- the rising socio-economic inequalities (represented by the slums, the pampered boy vs our impoverished protagonist in one of the early scenes, the businessmen enjoying their parties vs the squalid commoners), the Minamata disasters wreaking havoc on the environment along with the toxic chemicals released from factories (symbolized by the polluted waters and air, the dead fish) and the Narita airport protests (demonstrated by the screeching airplane noise disturbing the tranquility of the surrounding residential areas as well as real-life footage of the protests interspersed in between). And amid these tumultuous times lives our protagonist nicknamed “Deppa”- one with the protruding teeth.

Many reviews have already highlighted the socio-economic-environmental dimensions of the film, so I would like to instead bring attention to one of the overarching and pretty straightforward, yet ignored, themes of the film- the eternal struggle and conflict between the Strong and the Weak, between the Haves and the Have-nots, which is presented in a very clever manner on two levels- the microscopic and the macroscopic.

Deppa’s tale of being mercilessly bullied forms the micro part. A boy who has lost his parents has to now bear with the apathetic (and later hostile) attitude of his live-in relatives; he lives in utter poverty and is constantly bullied and physically assaulted due to his unusual appearance- these all form the basis of the “weak” character archetype. We have the trio of bullies who are not only physically stronger but also have the tacit approval and support of their peers and adults into bullying this “hideous” creature. And on the macro level, we have the conflict between the government and the society, the former a mighty politico-economic behemoth while the latter meek, vulnerable, divided from within and barely managing to stay afloat in the cruel world. Like Deppa, the society suffers from the government’s bullying via its one-sided and opaque projects and policies, and just like Deppa they can only glare – by taking out some token protests and marches.

The worst part, however, is not the bullying. Rather, it is the indifferent attitude and behavior of the very agents who are supposed to protect and encourage the weak that is insufferable. The policeman asked Deppa to “brave” the bullying and return to the place that was a literal hell for him-the class, and his own school teachers warmly welcomed him back, neither addressing the bullying nor paying attention to his plight. The adult passers-by either mocked Deppa’s appearance, suspected him of having devious designs (like the school girl whose kindness instantly changed to suspicions on seeing his appearance, and now thought of him as a potential rapist! ), or had fun hurting him mentally and physically as this monster naturally deserved. Similarly, the government sought to capitalize on its gains and take favors from corporations, while destroying the society in the name of progress- the very society that it was mandated to protect and for whom progress was expected to improve their life and security. Hence, both the adults and the government showed aversion towards the ugly and weak (Deppa and the society respectively) and paid obeisance to the beautiful in their eyes- brute power.

Such gross neglect and abuse are bound to create grave ramifications, and Deppa was the victim. In an attempt to preserve his mental and physical stability, Deppa slips into depression and loneliness, which ironically makes him more vulnerable to harassment. His one last hope-to see his dying mother-was also crushed like the flowers which the bullies trampled on. This was the last straw and Deppa chose to retaliate. The monster that society had dubbed him till now finally awoke, and naturally, tragedy ensued. Deppa’s act of destroying his bullies was the much-awaited triumph of the meek over the mighty.

But was it the “triumph”, the long-held victory that Deppa probably dreamt of? Tragically, no. It only affirmed unquestionably and beyond doubt that Deppa is the “ugly tooth monster” who now has no place left for him in society. Wherever he runs or tries to escape, all he would find are ruins around him, which won’t welcome or protect him. And someday, he would crumble and wither away as a nameless person among the many piles of these ruins – like the sole chimney whose existence either as a deformed standing structure or as a freshly created pile of rubble was meaningless either way. Deppa will cease but the death lullaby-the bullying-will stay, searching for another victim.

And what if the mighty continue to prevail over the weak? The film also presents us with this answer in the form of the “tsunami” unleashed by the Shinkansen, which swept away the lives and livelihoods of those miserable paupers like insignificant twigs. Neither able to retaliate nor able to save themselves from the eventual disaster, they were swept and crushed. Their unknown remains now formed the bedrock for the government’s “progress” further, with those train bridges continuing on seemingly into the horizon.

It is often said in times of conflict and wars that you either kill or be killed. The film tells otherwise- whether you kill or don’t, it doesn’t matter; for the meek will be killed anyway. Whether this reflects in our own world or simply stays on this film is something to ponder on.

Kiryū City in Gunma Prefecture, post-war Japan: The misfortune of being born into poverty is something Toothy Boy knows all too well, or rather, was forced to know. We have traditional houses, poor families, diseases around the corner, deplorable living conditions, you know, the life-long status quo under capitalism. But this is indifferent to Toothy Boy. What time does he have to dwell on such matters when half the classroom makes of him, poor undeserving orphan squab in this cursed land, a monstrous toothy caricature? Of course none. Learning to keep quiet and to guard anger will be his inevitable fate for as long ... as he can resist. But what does it matter? We have the first train station built and the newest super express train of the moment in a de-industrialised Japan. Progress is coming!
Toothy does not understand the non-sense of existence. Or maybe the problem is much less profound and lies where social acceptance has been made impossible for him. They, the revilers of his dignity, wound his virtue with the poison of their words that reek of antipathy, reduce it to rubble and insert it into a sepulchre. They have taught it to hate the earth and all that glitters. Toothy might be a verminous scoundrel who walks through the deep mire of disillusionment with a will in agony. But what does it matter? Politicians celebrate and the degenerate old traditional Japan is spruced up by the beak of liberal modernity, Japan is industrialised. Progress is coming!
But what progress? Certainly the progress of environmental devastation, the progress of privatisation, the progress of individualisation, the progress of labour exploitation, the progress of mental health destruction, the progress of cognitive capitalism, the progress of a libidinous economy, the progress of annihilation, the progress of wealth accumulation for the oligarchy: the self-perpetuating progress of the unsustainability of human, animal and plant life.
"An animated film describing the bullying of a Japanese child" says the atrocious reductionist description of whoever wrote that. The effect is confused with the cause here, since bullying is a secondary factor whose genesis is facilitated by the social structure itself. The short film does not focus on putting the burden of blame on the children, but rather on the reality itself that ends up conditioning these situations. Again: It is not that they wanted to show how bad the children were with him, but rather the result of a reality that allows the mass reproduction of these situations.
Of course, the film makes a strong critique of liberal modernity. (Note the adjective "liberal", since liberal modernity is not to be equated with different forms of modernity such as cultural modernity, technological modernity, or modernity itself as a historical period). However, the critique is even more specific and focuses on the illusory idea of progress, after making clear the non-sense of a society in agony while an impetuous wind, detached from a late-model train carriage, sweeps away the houses it leaves behind it at a rapid pace.
One last image: Devastation is evident in a world with nothing to shine about, houses stand destroyed in an uncomfortable silence, and the sight forces the eye to focus on a reminiscence of the industrial society. There is nothing left to show signs of mass societal life. The last structure that made the existence of the industrial world patently visible has collapsed.
After all, what value does money have when there are no signifiers to attribute its fictitious symbolic value to it?
Life has been sacrificed for something that is, in the end, nothing.

Rate a 4
English Subtitled

Story
Not impressed nor saddened per-say. I this animation was designed to illustrate suffering taking place during certain modernization periods in Japan. While on one hand government meant well by issuing a more relaxed life it was coming at a big cost for those in the surrounding area of the construction. Solitude for those few towns were being coming a thing of the past. Looking at clear skies again a thing of the past. Heck even sleep was a problem. Many stresses they were faced it is no wonder they ended up revolting. While this is informative but this only relates best to ... reality and not the anime.

In the anime non of this goes on per-say even though live footage of it is used. The anime details the encounter or a life documentary of someone's troubles. Not just that but of troubles that he faces are not of his doing. If anything it was something beyond his control. Personally, i would blame genes. Anyways, not only does he have to fight this trouble on a day to day basis but other troubles start surrounding his family which affects him indirectly. Such as sickness and poverty-stricken. Great life for him in a sarcastic manner.

In my opinion, I found Death Lullaby to be less of a political showcase of the new age of Japan outgrowing the old ways and more of a talk on how bullying can affect great change around a person's psyche.

I saw this short film as more of from the pov of the young boy who is weak and powerless to the effects of the bullies and it's mirrored by the times of change and the powerlessness of the citizens trying to overcome constant advances in society and how they impact the old.

Hiroshi Harada has also said in an interview that he suffered from ... bullying a lot as a kid and this short was the experimental graduate film that he did to express all the pain and suffering from those experiences.

And he also wanted to showcase how in the adult world it's still a very commonplace thing that the strong look down on the weak.

You can see his style in Midori (Another anime I've reviewed) and he credits this style as being a Montage but also understands as he was a 19/20-year-old it came off looking quite bad. Which personally I think got better in Midori, as here I feel is more trying to shock rather than horrorfy.

Overall I think the message is a decent attempt and for a short film by a 19/20-year-old it's astounding how decent it is considering that Hiroshi did a chunk of the work himself.