Tekkonkinkreet Review

Studio 4°C made a striking debut with Western audiences through their work on The Animatrix, animating five of its nine shorts. Collaborating with segment producer Michael Arias, they successfully brought The Matrix to life in anime form. This early partnership later led Arias to revisit a project he had worked on years prior: Tekkonkinkreet. An adaptation of Taiyō Matsumoto’s manga of the same name, the film stands out for its innovative use of 3D animation and for being the first major anime film directed by a non-Japanese filmmaker, as Arias took the helm. Tekkonkinkreet is visually distinct, featuring a multi-layered yet often bewildering narrative.

The film opens with Black (Kazunari Ninomiya) and White (Yū Aoi), a pair of orphans known as “the Cats,” who strive to maintain control over Treasure Town—a place Black proudly claims as his own. Meanwhile, Suzuki, also known as Rat (Min Tanaka), a yakuza member, returns to Treasure Town alongside Kimura (Yūsuke Iseya). They are hired by Snake (Masahiro Motoki), a foreign investor tasked with clearing out the town’s current inhabitants. Once Snake gains control, he plans to transform Treasure Town into a theme park. Determined to protect his home, Black takes a stand, gradually developing a dark and violent persona.

Political complexities aside, the film asserts that no one truly owns a town—its inhabitants collectively share ownership. Towns and cities are built on the backs of their citizens, who shape their communities through culture, shared experiences, and countless contributions. The loss of this culture harms the town itself. Suzuki points out that the strip club is an iconic part of Treasure Town, a place where boys transition into men and where many women find employment. At first, using a strip club as an example of gentrification may seem odd, but upon reflection, it underscores how gentrification threatens the culture we cherish. This notion feels especially relevant in light of the potential closure of the Prince Charles Cinema due to gentrification. Tekkonkinkreet serves as a chilling reflection of our current reality.

“Planet Earth calling, Agent White reporting” is one of the first lines White delivers—a phrase that quickly becomes familiar. White could be perceived as having an undisclosed mental health condition, but his behavior may also be interpreted as pure childhood innocence. He daydreams about riding an elephant or imagining an apple tree growing, embracing a whimsical view of the world. Regardless of any personal struggles, White is, at his core, just a child—and he should be allowed to live as one. This sharply contrasts with Black, who descends further into violence, beginning with a brutal assault on the yakuza that results in bloody consequences. Forced to act beyond his years, he gradually loses himself, ultimately creating a second persona known as the Minotaur.

The introduction of the Minotaur is where the film starts to lose me. While I understand that it symbolizes Black’s darkest impulses as he descends further into madness, this plotline unfolds after everything I’ve discussed so far—and that’s without even touching on the Snake and Kimura subplot. Tekkonkinkreet juggles a lot; while every element is fascinating, the sheer complexity makes it difficult to fully absorb in a single viewing, ultimately requiring multiple rewatches to grasp all its narrative threads.

The film’s greatest strength is its animation. The bustling retro-futurism of Treasure Town, with its towering buildings serving as a playground for Black and White, is a feast for the eyes. The characters themselves are equally striking—White, with his toilet paper holder strapped to his hip for wiping his nose and his ever-changing collection of animal hats, and Black, marked by his distinct eye scar and signature red goggles. Every character is visually memorable. Even in the opening chase scene, as Black and White navigate the city—leaping across cars and scaling a clock tower—the movement remains fluid and dynamic.

Tekkonkinkreet is flawed, but it is undeniably a marvel of animation. Having watched it twice, I continue to uncover layers I overlooked on my first viewing. I suspect that with each rewatch, my appreciation for its world and characters will only deepen. However, for now, I still feel there is so much more to explore.