Naoko Yamada is undeniably one of the greatest anime directors to ever grace the medium. A Silent Voice will go down as an all-time classic. However, throughout her career, there has been one common thread: Kyoto Animation. For most of her career, she worked with Kyoto Animation, starting as a key animator on Air and eventually directing both the show and film for K-On!, and, of course, A Silent Voice. But Yamada eventually parted ways with Kyoto Animation and moved to Science Saru, the studio best known for producing Masaaki Yuasa’s weird and wonderful projects. This was a major career shift, as she had long been a Kyoto Animation staple. The Colors Within is her first full feature film under the new studio, and what a feature it is.
The film opens with a young Totsuko struggling to learn ballet. She narrates over this childhood flashback, explaining how she perceives people as colors. As she grows older, she becomes attached to Kimi, whom she sees with a blue aura. However, one day, Kimi stops attending school and drops out. Determined to find her, Totsuko eventually succeeds, and on that day, the two girls strike up an unlikely friendship with Rui. Together, they decide to form a band.
Colors play a significant role in The Colors Within. They represent emotions, particularly the characters’ suppressed feelings. Kimi has a blue aura, while Rui has a green one. As the film progresses, we learn more about their personal lives and what they truly want to express and become. However, I believe Naoko Yamada’s message is that we must express our emotions and “unleash our colors.” This theme is emphasized through the formation of the band and how the songs reflect the colors of Kimi and Rui. Sister Hiyoshiko explains this when speaking to Totsuko, saying that, in essence, any song can be a hymn as long as it expresses genuine feelings.
The film unexpectedly incorporates a religious element, which initially caught me off guard. However, Yamada uses religion to highlight and promote universal themes. This isn’t a pro-religion film, but rather a film that advocates for personal growth and self-development. Sister Hiyoshiko doesn’t shun or label things as sinful; instead, she helps Totsuko and Kimi become the best versions of themselves.
Even though the animation studio has changed, the visual aesthetic has not. The film uses a warm palette of colors to create a vivid and visually stunning experience. Every single frame is a work of sublime art, nothing short of outstanding. Similar to Liz and the Blue Bird, the film employs different animation styles in incredible ways. For example, when we see how Totsuko perceives colors, the film adopts a more watercolor-like aesthetic. It’s easily one of the most beautiful films of the year.
Another major highlight of the film, unsurprisingly given Yamada‘s previous work, is the music. The score, composed by Kensuke Ushio, is nothing short of mesmerizing. From the rock songs the band plays to the soundtrack that accompanies every key moment, the music perfectly complements the scenes and heightens the emotions. Hearing a remix/cover of Underworld’s “Born Slippy” was particularly jarring, as it immediately brought Trainspotting to mind.
The Colors Within would be a career-defining film for any other filmmaker, but for Naoko Yamada, it is more than that. It is a genre-defining film that cements her status as one of the greatest storytellers—not just in anime, but in film as a whole. The Colors Within is nothing short of a masterpiece.
★★★★★
Playing as part of the 2024 BFI London Film Festival on October 19th and 20th / Playing as part of Scotland Loves Anime 2024 / Sayu Suzukawa, Akari Takaishi, Taisei Kido / Dir: Naoko Yamada / Anime Limited
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