Neo Tokyo

Movie (1 ep x 50 min)
1987
3.369 out of 5 from 1,174 votes
Rank #4,166

Neo-Tokyo (commonly called Manie-Manie Monogatari) is a collection of three sci-fi stories, based on the stories of Taku Mayumura. "Labryinth Labyrithos", "The Running Man", and "Order To Stop Construction" were directed by Taro Rin, Yoshiaki Kawajiri, and Katsuhiro Otomo, respectively. Ranging from an abstract demented clown to malfunctioning robots, each of these short stories are sure to entertain.

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Reviews

Celeriac
10

This is a highly artful (if implicit and surreal) telling of what I interpret to be a kid's internal journey in growing up, at first viewing the adult world and the passing of time with angst, yet being very eager to find out more about it. The kid is shown allegorical glimpses of the extreme aspects of what grown-up life can entail, and then comes to a conclusion about it. What an absolutely great and well-executed philosophical ride! To better explain what I saw to form such a high opinion, below is my more detailed summary of what I think went on in the film, with SOME LIGHT SPOILERS but mostly my own interpretation. Part 1 Sachi is a child with a child's mind. She views the adult world as strange and oppressive, and the notions of time passing by and inevitability of adulthood and death are unresolved sources of uneasiness for her. She plays for a bit as children do, and while meditating on the boring and scary world of adults, she also gets fascinated by it (or her immature concept of it) and wants to chase it down and get a taste of it, as children so often do. Sachi is obliged and she gets to see parts of it in great detail – her seeing the same or analogous things as the following shorts is implied. Part 2 A portrayal of passion, highly developed skill, competition, and an attempt to evade inevitable death for as long as possible, at the possible cost of your soul and body's wellbeing. Part 3 A portrayal of the seriousness, rigidness and counterproductive arbitrariness and stubbornness of work life and society. Part 4 Having seen the extremeness, insanity and gravity of the adult world, Sachi is finally treated to a more light-hearted carnivalistic showcase of what grown-up life can be. She now sees the previously creepy and unrelatable carnival (as seen around 9:15) as something more friendly and approachable: her perspective has shifted. Sachi finally makes up her mind, which is an emphatic YES to all that fun and messy madness! The TV set and laughter at the end can be interpreted as the underlying hilarity of life in general, from a more grand and unattached perspective. We don't know something and someone or something finds it absolutely hilarious.

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