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Similarly, I appreciate that she doesn’t force her affection on him, but acknowledges she’s still allowed to like him despite his rejection.Ī lot of that rests on the shoulders of Shiraishi Sei, who really carried this story. It really shows that she has some backbone to her, especially since she really did follow through with maintaining a relatively normal friendship with Hayato after. Couple with that within the first ten minutes of the film, Tsukasa confesses to Hayato and gets rejected. It was a really cute touch that made the film have a nice book-ended effect to hold it together.

I actually liked how the opening of the film, and the ended scene mirrored one another. These errors in techniques, does not mean that Mune-Kimi is all bad. It was a huge oversight on the editing team’s part, and the first time in a very long time I’ve seen something like that happen in a theatrical release. I had to double blink to make sure my contacts hadn’t slipped out of place or something. It doesn’t help that this scene is one that establishes the duo’s future dynamics. The whole film is all about the bokeh, lens flare, overexposed backgrounds whereas the scene between these two looks like they threw a sepia tone on it? It was that, or something happened in the editing room because the quality of this scene took a huge dip. My final moment of confusion is what happened with Tsukasa and Yasuhiro at the beach. This was obstructed by the constant lens flare, that didn’t match the natural lighting of the scene and just came off as completely odd. The biggest one being a confrontation between Tsukasa and Mayu which should have had a fairly serious tone to it.

However, it made a lot more scenes come across as mixed mood. Once or twice would have been alright, and a few times it did really enhance the action occurring giving it that high-school brand of sweetness. In addition to this forced positivity was the constant use of bokeh, and lens flares in the corners of many scenes. From the locations I’m aware of, most of them would have been naturally well-lit so I’m not sure why that wasn’t utilized. It made the film have a forced upbeat nature, even when scenes didn’t call for that. However, this was marred by the very odd choices of constantly overexposing the backgrounds. The shots were well-framed and executed without too many issues.

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I have to say that Mune-Kimi knew how to chose it’s locations as always. If you ever wanted to capture the essence of generic shojo adaptations Mune-Kimi is it. In film form, it’s only an hour and forty-four minutes, and as a manga, a mere five volumes with twenty-five chapters. It’s generic as shojo gets, but at least has the courtesy to not over-stay it’s welcome. Much like prior reviewed Mairuvich, there was a reason that Mune-Kimi wasn’t adapted when it was publishing. I’m going to be very honest and succinct. High school hijinks ensue of course, in the rated-G shojo sort of way. Whereas Tsukasa is being pursued by the school playboy, Hasebe Yasuhiro (Itagaki Mizuki). Being that their third year is upon them, Tsukasa still has a crush on Hayato, meanwhile it’s come out that Hayato has a previous girlfriend, Mayu (Hara Nanoka) who wants him back. Arima Hayato (Ukisho Hidaka) transfers to Shinohara Tsukasa’s (Shiraishi Sei) middle school, and Tsukasa nurses a crush on him up through high school. While I didn’t know this at the time, Mune-Kimi is another mid-2010’s shojo that wasn’t particularly memorable but somehow got an adaptation.

Film bokeh 2021