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It was so good throughout the entire story, but the ending made me want to kill myself (not in a good way). That's all I have to say.

But since I apparently have to make this longer, I will say this - don't read the last two chapters if you're still catching up. Just do. Not. It will literally ruin everything you ever enjoyed about this story. Just pretend that Giselle, succumbing to the pills, decides to live with Isaac forever. They find the killer and all is well. The end.

But seriously, if they wanted to end this story in a bittersweet/painful note, there ... are so many better ways they could've done it better. It felt like Lee Yunji just gave up after her hiatus LMAO.

"Hey, Nana, do you remember the day we first met?" is a sentence that tends to haunt me every time I hear it. It's the first line of the show, and perhaps even the last. I have a LOT to say about this show, so I might as well dump it all here.

Nana has gained it's rightful notoriety in many aspects. It holds a poignant method of storytelling, writing out the lives of these young individuals surviving in Tokyo during the early 2000s. It feels a bit like a love letter to the culture and way of thinking to the youth during those unsure, ... difficult times; half a blend of the lifestyle that contradicts that of traditional Japanese concepts and goals with it's tendency to be rebellious, sensual, and blatantly honest in nature, and the other still maintaining that sense of conservatism and helplessness.

I suppose that could also be the perfect way to describe our two main characters - Osaki Nana and Komatsu Nana. They're the perfect yin and yang in that aspect; so different, yet so alike at the same time.

I think it could be obvious that there was a lot to enjoy in this show as well as there was a lot to hate. However, I believe almost every aspect of the story was added with enough self awareness to make us assume that this is /supposed/ to make us frustrated. No one in Nana is perfect, as every real human being is, and it only annoys us because we are watching them with an outsiders' perspective. In a way, there's possibilities for us to even see ourselves in these characters, which adds onto the amazing writing of Ai Yazawa, and her ability to put clearly put her entire heart into creating a story like this.

As such, what I mainly loved about this show was it's ability to be a true reflection of a woman's experience during the respective time period. Komatsu is such a complex character that I could write a whole essay in how stereotypes, her experiences and internalised sexism in the society she grew up in influenced how she became as an adult and as a human being. While Osaki is a true contrast to her, she faces her own qualms in misogyny due to her blunt and rough nature -- how she's called "cold" and "self centered" simply because she doesn't want to have a child just yet, or because she is vividly capable of expressing her own wishes the way she seems fit.

Neither of the women completely unlearn these mindsets, or manage to deal with them in a way that's direct, like we would expect in the modern age. I liked this, too, because not only is realistic, but it perhaps reflects how they've grown accustomed to these expectations they have as women and no longer find any reason to protest against it. And together, they learn to find meaning in their lives and encourage each other in a way no one else can due to that silent understanding and unconditional love they seem to share with one another, and it's nothing short of beautiful to see and experience, even if many obstacles and painstaking situations seemed to interrupt their relationship altogether.

Now, the main thing I disliked, if I'm being honest, were most of the men in this show. But that's not necessarily the fault of the writers, or the flow of the story, or anything technical. Actually, the fact that I dislike these men could add onto /why/ I appreciate this show a lot - for it's ability to depict the worst of men, ie Takumi, or even men who seem harmless and genuine, like Ren, but still maintain a lot of "red flags", for lack of better wording, and not being truly called out for it. Let's also not forget Reira, the true damsel in distress, who grooms 15 year old Shin out of loneliness.

But, as I said before, no one in this show is truly perfect. Even, and especially, the two Nanas. We don't share the same moral compass, nor the experiences as they do, and watching these contradicting personalities mesh with our own perception of life can be interesting as it is inhumanely annoying. That's what keeps this anime truly alive and still relevant, even to this day. We're taught how every situation goes beyond what we usually expect to happen, how people aren't as tough or as good as we wish they were, and how, despite the harsh realities that exist both in the world of Nana and in the world we live in, the idea that you can find comfort and love in the people you surround yourself with just as the Nanas do is nothing short of reassuring.

That being said, if you are one who can maintain an open mind and the patience to absorb a realistic, infuriating yet powerful, heartfelt and enriching story, then Nana is definitely meant for you.

Mirai of the future was something I had been planning to watch for months now, and after finally getting to watch it, I must say that I am slightly underwhelmed.

STORY: 6/10
The plot strives to be heartfelt — an intense, magical method of realization for a young stubborn toddler now that he isn't getting full attention in the household. Time travel is nothing new in Hosoda's films (and somewhat overused at this point) and is utilized as a huge plot point on the film for Kun to make emotional development for himself without help from his rather lax parents. The way the story was going, ... I was hoping for something more thrilling and adventurous would occur, but suddenly let down when this only happened towards the nearing end of the film (that provided no clear buildup, really). In any way, the progression of the film was a bit messy, but not overall horrible as it did bring some interesting messages to the table that not only young children can take, but also the older audience that Mirai's audience may be mostly comprised of — it is to not underestimate or misunderstand people's choices, as there may be more reason to it than what meets the eye.

ART: 9/10
The art and the animation was what made me truly fall in love with the film. It's beautiful watercolor-like scenery that kept its own version of realism; the character's fluid, expressive movements; and how each frame is designed to exactly fit the mood of our character (let it be messy, bright, conflicted, etc). I love Hosoda's films for how fluid and the diverse the animation becomes, and this, wholly on the art alone, made me appreciate it.

SOUND: 8/10
The soundtrack was genuinely catchy, and fit the mood of the story through that little touch of magical innocence Kun and Mirai have. It added onto the enjoyment of the story.

CHARACTERS: 6/10
Now this is where it gets a bit tricky for me. Our main character is in the eyes of a stubborn toddler going through moods of jealousy and frequent tantrums; a phase many of us, at least those who have younger siblings, have probably gone through at his age (unless you saved the universe in your past life and reincarnated an angel). To see that point in your life in your present perspective may be nostalgic as much as it is annoying to watch. Kun spent most of the entire film complaining and having tantrums— again, a common factor in toddlers, but this is exactly the trait he has that becomes less frequent and therefore develops as a young boy throughout the progression of the movie. This is the point of view that perfectly pictures the message the story paints, and it is done so rigidly yet through what I can assume is careful precision.
Other characters, such as the parents, had their own struggles to overcome— but for some reason, did nothing to even help Kun mature himself. I mean, instead of going through the fields of time travel and constant re-evaluation, his parents could have just educated him or reprimanded him as most normal parents do. But I guess if it were that way, this movie wouldn't exactly exist.

Overall, the characters in general were rather bland, but the characteristics that mainly represented their cause in Kun's journey were perfectly defined.

ENJOYMENT: 6/10
Although, of course, by the time I finished the film, I found myself emotionally touched and smiling — but through the aforementioned doubts and expectations I had about the general plot of the film, I wasn't completely satisfied nor was I about to immediately go "Holy hell, 10/10" for this film. I'm not going to deny that I was annoyed with Kun's tantrums, either.

OVERALL:
Despite everything else, this was a good film. Although it definitely isn't for everyone, it represents a good familial antidote and all the rouses of time and appreciating what you have. I don't know if I would definitely recommend it to people, but it's a light watch that'll leave you with a full heart by the end of it.