Mamoru Oshii’s challenging follow-up to his breathtaking original film, Ghost in the Shell 2: Innocence (2004) is a post-cyberpunk, post-human foray into the vanishing line between humans and machines. Set some time after the conclusion of the first film, the sequel follows Batou and Togusa, newly partnered up, as they investigate a series of grisly murders involving gynoid sex dolls. Despite being overshadowed by its predecessor, Innocence remains one of my favourite anime film.
Netflix delved into original anime filmmaking with Blame! (2017), adapted from Tsutomu Nihei’s manga of the same title. Set in a distant post-apocalyptic future where the last remnants of humanity cling on to survival in a vast, machine-controlled city, it’s a refreshing take on a number of familiar sci-fi and anime tropes. Directed by Hiroyuki Seshita (Knights of Sidonia, Ajin) and produced by Polygon Pictures, a Japanese CG animation studio best known to me for their work on Mamoru Oshii’s Ghost in the Shell 2: Innocence, Blame! is worth a look for any anime fan with a Netflix subscription.
Ghost in the Shell: The New Movie (2015) is the feature-length follow-up to Ghost in the Shell ARISE, the third animated iteration of the Ghost in the Shell franchise (after the original films and the Stand Alone Complex era of the early 2000s). In Japanese, it’s called ‘Shin Gekijōban’, which is akin to ‘the new movie based on an anime or television series’. This explains both the clumsy English language title and the reliance on characters and plot elements from ARISE that, enjoyable or not, prevents it from excelling as a standalone experience.
I first saw Ghost in the Shell (1995) in the late ‘90s, on a probably-rented VHS, with the American dub (which, to my recollection, actually held up as one of the better dubs I’ve heard, though I haven’t tested that in years). Since then I’ve revisited it several times, with the original Japanese audio, both before and after I learned to speak the language. I recently had the opportunity to see it in a cinema for the first time, which presents a perfect moment to discuss the film here.