Nanase Iwai

The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.

Japan, 1943, during World War II. Young Suzu leaves her village near Hiroshima to marry and live with her in-laws in Kure, a military harbor. Her creativity to overcome deprivation quickly makes her indispensable at home. Inhabited by an ancestral wisdom, Suzu impregnates the simple gestures of everyday life with poetry and beauty. The many hardships, the loss of loved ones, the frequent air raids of the enemy, nothing alters her enthusiasm…