Satoshi Kon’s Good Blue Is Completely Feminist
Satoshi Kon’s 1997 movie Good Blue affords a nuanced dialogue on feminism that’s nonetheless related to trendy audiences.
An excellent psychological thriller takes viewers on a twisting trip that makes them query every little thing they thought was sure, and Good Blue does this masterfully. Directed by Satoshi Kon in 1997, Good Blue has taken up the mantle of an animated traditional and enjoys its place among the many ranks of Japanese works that affect Hollywood.
Within the leisure business, picture is every little thing, and that is very true for ladies. The lack of picture can spell the lack of a whole profession. Younger girls, particularly idols whose photographs are fastidiously crafted, are inspired to painting a candy innocence that makes them agreeable to the lots. Those that break from this picture are sometimes confronted by judgmental crowds and denounced by puritanical critics. It is sufficient to drive any lady — like Mima — loopy.
Rumi’s essential qualm with the scene is that it’s going to deal a dying blow to Mima’s excellent picture. Nonetheless, the concept sexual assault can reduce a girl’s perceived worth in any means is very problematic. The movie’s nuanced dealing with of this dialog forces audiences to handle their very own feminist beliefs.