A small kitten named Nyata drowns in a bathtub, yet his death is not the end of the story but the beginning of a surreal journey into the afterlife. This 2001 animated short film, directed by Tatsuo Satō, opens with a scene that defies the logic of conventional storytelling. Nyata, an anthropomorphic cat, finds himself dead or unconscious in the water, watching his sister Nyaako leave the house holding hands with Jizō, a psychopomp figure who guides souls to the land of the dead. The film does not explain why Nyata is dead or how he can follow his sister, leaving the audience to piece together the fragmented narrative. The visual style is deliberately jarring, with hand-drawn animation that shifts between crude sketches and detailed backgrounds, creating a sense of unease that permeates the entire runtime. The film was released direct-to-DVD in Japan on the 21st of February 2001, bypassing traditional theatrical distribution to reach a niche audience eager for experimental animation. Central Park Media later licensed the film for North America, releasing it on DVD on the 9th of September 2003, introducing it to a wider Western audience that would come to recognize its unique artistic merit.
The Soul That Split
When Nyaako is taken by Jizō, her soul splits in two, leaving half of her with the psychopomp and the other half with her brother Nyata. This division sets the stage for a bizarre quest to reunite the fragmented soul and restore Nyaako to life. The film's creator, Nekojiru, who was born on the 19th of January 1967 and died by suicide on the 10th of May 1998, crafted a narrative that mirrors the psychological fragmentation of grief and loss. The characters first appeared in the June 1990 issue of the monthly manga magazine Garo, a publication known for its avant-garde and often disturbing content. The story was later adapted into a series of 27 two-minute television episodes, collectively titled, which aired in 1999 as a segment on TV Asahi's programming. The film's visual language reflects the chaotic nature of the soul's journey, with scenes that shift from the mundane to the grotesque without warning. The audience is left to wonder whether the events are real or a hallucination, a question that the film deliberately avoids answering.
The Circus That Floated
The siblings attend the Big Whale Circus, where a giant transparent bird containing a sky and clouds is accidentally popped by members of the audience, causing an all-encompassing flood. This scene, which occurs during the final act of the film, is a metaphor for the fragility of reality and the unpredictability of fate. The flood submerges the world, forcing Nyata and Nyaako to find refuge on a sampan with a pig. The pig, a symbol of innocence and vulnerability, is partially butchered by Nyata, who removes pieces and cooks them for the group, including the pig itself. This act of cannibalism, while disturbing, is presented without judgment, highlighting the film's exploration of survival and the moral ambiguity of the characters' actions. The scene is a testament to the film's willingness to push boundaries, challenging the audience to confront the uncomfortable truths of existence. The film's creator, Nekojiru, who died by suicide on the 10th of May 1998, may have drawn inspiration from her own struggles with mental health and the fragility of life.
A man invites the siblings into his house, feeding them until they are full, only to attempt to turn them into soup with a pair of scissors. This scene, which occurs in the desert, is a chilling reminder of the film's themes of consumption and exploitation. The man, revealed to be a robot, is cut into pieces by Nyata, who uses the scissors to defend himself and his sister. The scene is a commentary on the dehumanizing effects of modern society, where individuals are reduced to mere objects to be consumed and discarded. The film's visual style, with its crude animation and surreal imagery, enhances the sense of unease and discomfort. The audience is left to wonder whether the events are real or a hallucination, a question that the film deliberately avoids answering. The film's creator, Nekojiru, who died by suicide on the 10th of May 1998, may have drawn inspiration from her own struggles with mental health and the fragility of life.
The Elephant That Evaporated
Nyata digs and finds an elephant made of water, which cools them off and travels with them, though the elephant eventually evaporates from the heat. This scene, which occurs in the desert, is a metaphor for the fleeting nature of hope and the inevitability of loss. The elephant, a symbol of strength and resilience, is unable to withstand the harsh conditions of the desert, highlighting the fragility of the characters' journey. The film's visual style, with its crude animation and surreal imagery, enhances the sense of unease and discomfort. The audience is left to wonder whether the events are real or a hallucination, a question that the film deliberately avoids answering. The film's creator, Nekojiru, who died by suicide on the 10th of May 1998, may have drawn inspiration from her own struggles with mental health and the fragility of life.
The Time That Stopped
God accidentally stops the flow of time and disrupts space, and the cats play with the time-frozen scenes. Father Time turns time back on, shooting it forward and reversing it, showing various scenes of random events either rapidly going forth in time or back. This scene, which occurs in the desert, is a metaphor for the unpredictability of fate and the fragility of existence. The film's visual style, with its crude animation and surreal imagery, enhances the sense of unease and discomfort. The audience is left to wonder whether the events are real or a hallucination, a question that the film deliberately avoids answering. The film's creator, Nekojiru, who died by suicide on the 10th of May 1998, may have drawn inspiration from her own struggles with mental health and the fragility of life.
The Flower That Restored
The siblings find themselves back on their boat in the ocean, drifting into a shallow marsh filled with tin sculptures of plants and mechanical animals. There they chance upon the flower containing the other half of Nyaako's soul. Nyata places the flower on Nyaako's face, which restores her to normal. They go back home, completing their journey and reuniting the fragmented soul. This scene, which occurs at the end of the film, is a metaphor for the resilience of the human spirit and the power of love to overcome adversity. The film's visual style, with its crude animation and surreal imagery, enhances the sense of unease and discomfort. The audience is left to wonder whether the events are real or a hallucination, a question that the film deliberately avoids answering. The film's creator, Nekojiru, who died by suicide on the 10th of May 1998, may have drawn inspiration from her own struggles with mental health and the fragility of life.
The Family That Vanished
The entire family of cats is gathered in their house leisurely watching TV, but when Nyata leaves to visit the toilet, the other family members disappear one by one into thin air. The show on the TV also disappears, leaving only a flashing screen behind. Nyata returns to find everyone gone, and the house is left in darkness. The film also turns off, leaving behind a flashing screen of static. This scene, which occurs at the end of the film, is a metaphor for the fragility of existence and the inevitability of loss. The film's visual style, with its crude animation and surreal imagery, enhances the sense of unease and discomfort. The audience is left to wonder whether the events are real or a hallucination, a question that the film deliberately avoids answering. The film's creator, Nekojiru, who died by suicide on the 10th of May 1998, may have drawn inspiration from her own struggles with mental health and the fragility of life.