Fantasia Diary 2015, Day 12: Nowhere Girl and Princess Jellyfish
Saturday, July 25, was an odd day. At 4 in the afternoon I was meeting my girlfriend and some other friends to watch Princess Jellyfish, a live-action adaptation of a manga that had already been adapted into an anime series. But because I had to queue for it with members of the media, I’d actually be waiting in a different line than the people I’d be seeing the movie with. So I decided I’d go to the Fantasia screening room first, and watch another film: Mamoru Oshii’s Nowhere Girl.
Oshii’s best known as a director of anime films such as Ghost in the Shell and the recent Garm Wars. This was his first live-action feature, from a script by Kei Yamamura based on a short film by Kentaro Yamagishi; Yamagishi’s 2012 film ran 20 minutes, and Oshii’s only runs 85. For most of that time we follow Ai, apparently an exceptionally talented student at an arts school for girls. Orders from unseen authorities have given her more privileges than the other students, and she’s building a strange sculpture project in the school auditorium. She’s excluded and bullied by the other students, and has a tense relationship with one of her teachers. The school nurse is more sympathetic, but is pushing medication on Ai despite Ai’s doubts. It’s hinted that Ai might be suffering from hallucinations. Mysterious scars and injuries appear on her for no obvious reason. And what do the quakes striking the school have to do with her?
Mysteries run through Nowhere Girl (original title: Tokyo Mukokuseki Shojo). Ai’s schoolmates say she’s suffering from “PT … something. Some mental illness.” She’s clearly capable of violence. Formerly considered a genius, something seems to have wrecked her talent — unless she can work through whatever’s blocking her. Then an unexpected climax is filled with gunplay, and everything becomes clear in the last minutes. It’s a Twilight Zone–esque structure, a puzzle revealed by the hoary old twist ending.












