A beginner's guide to the films of anime master Mamoru Hosoda

Many Americans were first exposed to the animation of Mamoru Hosoda unknowingly, through a little motion picture called Digimon: The Movie. For nerdy kids, the film was the coolest thing since Pokemon: The First Movie. But adults can see it for what it is: a Frankenstein’s monster of a movie that reworks three Japanese short films into one very messy feature, and adds a prologue featuring the characters of fellow Fox acquisition Angela Anaconda.Dragon Ball Z director Shigeyasu Yamauchi directed one of the shorts, but it’s Hosoda’s segments, Digimon Adventure and Our War Game, that are the true highlights—and a fascinating start to his career. Despite being a prequel and sequel to the original Digimon TV series, these shorts feature all the themes that would be expanded upon in Hosoda’s future work. One part kaiju film and another part slice-of-life, Digimon Adventure stands alone, lovingly drawn and featuring Maurice Ravel’s “Boléro” as a recurring musical motif. Our War Game jumps forward in time, and though it requires some vague knowledge of Digimon, its animation and digital world building is enough to make it worth a watch on its own.

Back in 2005, after making , Mamoru Hosoda directed the absolute best film in the sprawling  series: Baron Omatsuri And The Secret Island.It may seem like an odd choice to include this film instead of something like Hosoda’s adaptation of The Girl Who Leapt Through Time (not to be mistaken with ’s live-action adaptation of the same name). That film is a tender and enjoyable feature about teen angst and the follies of our youth, but Hosoda’s One Piece film is maybe the most attractive of his earlier films, blending 2-D and 3-D animation.Hosoda’s typical design and animation style, full of long limbs, fluid movements, and delirious set pieces, takes Eiichiro Oda’s characters and makes them look cooler than ever. And the narrative, framed around the pirates of One Piece landing on a mysterious island and being thrown into a strange competition, is a surprisingly emotional mini-arc that gives nearly everyone a chance to shine. That this film, as delightful as it is horrific, has never been released on home video in the United States is a crime—and not a fun one, like stealing treasure.

Digimon Adventure: Our War Game was Hosoda’s blueprint for engaging with a unique digital world. Summer Wars perfects that model. Where Our War Game envisioned the internet as a grander concept being traversed by digital monsters, Summer Wars features a virtual world known as “OZ.” The action is still there, but the stakes seem even higher. And the film gives its world room to grow, instead of relying on established characters. Even though entire set pieces are lifted directly from Our War Game, it’s a testament to Hosoda’s talent as a filmmaker that each and every scene feels fresh—not simply because of a new narrative and characters, but thanks to some incredibly breathtaking animation as well.The film doesn’t limit itself to the web, deftly bouncing between “reality” and “virtual reality.”But more interesting is the way Hosoda binds them together. This isn’t the kind of film that lectures those who enjoy cyberspace to go “touch grass,” but it does understand that true balance comes in recognizing the harm—and beauty—that comes with any lifestyle. Just as our own families and friends can harm or heal us, the communities and experiences we have online can do the same. It’s a perspective that ultimately leans into sentimentality, but it also acquaints viewers with the tone and themes of Hosoda’s future works.

It’s been said that Wolf Children is more or less what you’d get if made an animated film about a single human mother raising werewolves. And it’s hard to disagree. Hosoda follows up the grand scale of Summer Wars with his most intimate film, a simple tale of a woman raising the two children she birthed after falling in love with a werewolf. Though many of Hosoda’s previous works are explicitly about family—be it the family you choose, as in One Piece, or the one you’re saddled with, like in Summer Wars—Wolf Children feels like a mature exploration of what that word really means. It’s a quiet, lovely film, diving deep into the way this mother and her kids navigate their unconventional lives.While the film doesn’t take the viewer into new worlds, it’s no less gorgeous to look at, with both the werewolf transformations and the world around them gorgeously designed. And as fantastical as the premise is, it’s the intimacy with which Hosoda and co-writer Satoko Okudera approach these characters that makes it so easy to suspend one’s disbelief. It’s as much a film about growing up queer as it is about raising queer kids, as well as a film about how loving someone sometimes means understanding that they will grow beyond your hopes and dreams for them.