Latest news with #GKids
Geek Tyrant
8 hours ago
- Entertainment
- Geek Tyrant
Teaser Trailer for the Anime Film 100 METERS About a Running Rivalry — GeekTyrant
GKids has revealed a teaser trailer for the upcoming new anime film 100 Meters , which centers on two characters who are gifted runners and their relationship. It starts out as a mentorship, and then turns into a rivalry. 100 Meters follows Togashi, 'a track star who is born to run. As a kid, he is naturally gifted and wins every 100-meter race without much effort. But in 6th grade, he meets Komiya, a transfer student who is full of determination but lacks technique. 'In teaching him, Togashi gives him a new purpose: to win no matter what. Years pass by, and Togashi and Komiya meet again later as rivals on the track and reveal their true selves.' This film has been getting a lot of positive buzz, and it comes from filmmaker Kenji Iwaisawa ( On-Gaku: Our Sound ) and the voice cast includes Shouta Sometani and Tori Matsuzaka. This looks like a great film and an awesome rivalry story that spans decades. I'm excited to watch this one, and it will open first in Japan on September 19th, 2025. GKids will also debut 100 Meters in US theaters starting October 2025.
Gizmodo
2 days ago
- Entertainment
- Gizmodo
‘Dan Da Dan' Co-Director on Hideaki Anno's Impact and Upping the Ante for Season 2
Abel Gongora dives into what's to come in the anime's next installment—as well as what it was like tag-teaming with its OG director to surpass the high bar set by season one. Dan Da Dan is poised to make its highly anticipated return to streaming platforms this July. Ahead of the yokai-meets-sci-fi anime series' second season, studio Science Saru and GKids have joined forces once more with Dan Da Dan: Evil Eye, a theatrical premiere featuring the first three episodes of its forthcoming season. They pick up right where the season one cliffhanger left off adapting creator Yukinobu Tatsu's ongoing manga. While the theatrical event includes an insightful interview video with its directors, io9 pierced the veil even further, chatting with Abel Gongora, the opening theme director of Dan Da Dan's first season and co-director for its upcoming season. During our conversation, Gongora reflected on the pop culture influences that inspired his creative process and his evolving role co-directing alongside longtime collaborator Fuga Yamashiro—and how their shared creative vision and occasional artistic disagreements contributed to the tag-team ebb and flow of Dan Da Dan season two's early production. This interview has been edited for clarity. Isaiah Colbert, io9: Season one ended on a suspenseful cliffhanger that left fans eager for more. Was that always the plan from the start, or did the decision evolve during production to build anticipation for season two? Abel Gongora: That was decided at the very beginning—that's more like a script decision. They have the manga already, so they can see where they want to cut, and that was done very early in the production. io9: This time around, you're stepping into a co-director role instead of just handling the show's opening, which featured shadowy silhouettes and bold, Kon Ichikawa-styled typography. What led to that shift from being the opening director to the co-director for season two? Gongara: After the opening, I started to assist [Yamashiro] also. I got involved in the project, and then I got to understand important things to know, like the characters' story. It went kind of smooth because I was already in season [one] a little bit. The production is really difficult—it's a lot of work to do one season. Production thought it would be good to have two directors so the work is not too hard on the season one director. I started with all the setting designs that we had at the end of season one, then it was already decided, so I kind of slowly started [directing] in season two. io9: Dan Da Dan's opening theme by Creepy Nuts became an instant fan favorite and even won a couple of anime awards. The sequence features clear nods to pop culture iconography, such as Ultraman, blending bold stylistic choices with the show's unique energy. What inspired that creative direction, and do you have a personal favorite moment from its opening sequence? Gongara: At that time, I talked with the director of season one [and] he gave me total freedom because we have worked together for a long time. He knows, more or less, my style. He just asked me to use Ultraman as a reference—those silhouette pictures. He'd say, 'As long as you use that, it's okay. You can do whatever you want.' So I started watching Ultraman and I started to find some ideas on how to use it, and I also added something extra to make another kind of scenes in the opening. We agreed we didn't want to have the normal look of the show, so it looks a little bit more like shiny fancy colors—a little bit more special. I showed all the ideas and concepts to the director. He liked it. Then I started I started the storyboard when I got the song. I thought the song was really cool, so it was exciting to do the storyboard, because you have to feel the rhythm and find ideas according to the rhythm of the song. Yamashiro was really open to everything. It was difficult, but it was fun. My favorite part is the silhouette that I did myself. And then some of the rough animation cuts that were done by one guy on the team, who is a really amazing animator. I was very happy because I asked him if he could do it on paper and pencil. The picture, like the grain of the paper, is on the screen. If you stop the frame, it has the real grain of the paper, and then the real pencil. That is something we don't do any more in animation. It's kind of like a lot of work, and I'm very happy this animator did it. It turned out to be very beautiful. Also, I did the compositing at the end because I wanted to push that rough style. Yeah, those parts are my favorite in the opening. io9: Will season two's opening, 'On My Way' by AiNA THE END, follow a similar approach to using silhouettes like the first season did, or can audiences expect something entirely new meshing with the poppy sound of AiNA's song? Gongara: It's gonna be completely different. I cannot say much, but it's gonna be really different and I'm happy about it. I think it's amazing. I wanted something different, because otherwise it might look like trying to redo something that was good, and I thought that wouldn't be interesting. But yeah, you will see. io9: In the Evil Eye director interview, you mentioned watching and drawing heavy inspiration from horror films and Hong Kong cinema to help shape your approach to the Evil Eye arc. What films helped you nail Dan Da Dan's action-meets-horror atmosphere in season two? Gongara: The main reference for Dan Da Dan would be Ultraman, of course. I really liked the way Hideaki Anno did the new version of Ultraman, Shin Ultraman. We also have kaiju and things like that, so I really liked Shin Godzilla and Shin Kamen Rider. There's also some common points with Kung Fu movies. They sometimes share similar storytelling, with one influencing the other. For example, like a crush-zoom on the face of a character, things like that are used a lot in both media. We try to analyze those things. I'm also very influenced by the Alien movies. That also fits Dan Da Dan's science fiction part, and it's very scary. I think the original Alien is a really amazing film. I don't think there's really a movie that mixes all this, but we try to get the ideas and general influence by watching a lot of films. I think Yamashiro-san would do that, too. io9: The first season was a huge visual spectacle, effortlessly shifting between horror, action, and romance with expressive animation that heightened every moment. Were there any specific scenes from the manga that pushed the studio creatively in season two? Moments where animation allowed the series to take things to another level, but proved to be a challenge to get over the finish line? Gongara: (laughs) We are in the middle of [production] today. We are trying new things like mixing 3D sometimes to help the animators. Sometimes, we have ideas that cannot be done by traditional animation, or it would be crazy to do. We are trying to find how to use 3D in a more creative way. There's a little bit in Evil Eye, too. We are experimenting a little bit with the 3D. We also have a lot of new music in the season, and we are experimenting a little bit with the way we use it. io9: You've mentioned that you and Yamashiro have worked together before, in a collaborative setting. How has the meshing of both your styles to create Dan Da Dan season two been? Has it proved to be a rough feeling-out process working through where you guys disagree creatively, or has it been a seamless transition for the two of you? Gongara: I think, of course, [Yamashiro] has more heavy involvement because he decided all the things you can see in season one, and I tried to follow his direction. Of course, we don't agree on everything. But we have half of the season divided. It's not exactly like half-and-half. It's like I've got the first arc, then he gets the second arc, and then I go back for the third arc, and then he's also doing something later. We share like that, but still, we are involved in both. Sometimes, he's helped me adding some storyboard parts or some ideas he had, and I'd also check with him [on] colors. Things like that we need to decide because some designs might appear in both my episode and his episode. We are working all the time together. We have this background where we used to work in many projects together. [We've worked] with Masaki Yuuasa before, and we learned a lot from him. So we have similar vision. We agree on many things and our view on animation and cinema is similar. We like to push perspective and we like to push the expression of the characters, maybe more than other directors. It's kind of not too hard for both [of us], I hope. I cannot talk for him, but I think it's smooth in general. Dan Da Dan season two premieres this July on Netflix, Crunchyroll, and Hulu. Evil Eye hits theaters across the U.S. June 6.
Gizmodo
6 days ago
- Entertainment
- Gizmodo
‘Dan Da Dan: Evil Eye' Brings Curses, Chaos, and Heart
Science Saru's theatrical preview prepares 'Dan Da Dan' for a genre-bending comeback before season 2 haunts your anime watchlist this July. When Dan Da Dan hit streaming platforms last fall, it wasted no time becoming the Johnny-come-lately must-watch anime of the year. With an absolute bop of an opening theme, a seamless blend of comedy, sci-fi action, palpable slow-burn romance, and evocatively bouncy and expressive animation, Science Saru's off-kilter anime quickly became the standout of 2024. It also doesn't hurt that the series recently won some Crunchyroll Anime Awards, adding to its growing acclaim and cementing its place as a fan favorite in a year of exceptional anime. Accolades aside, it'd be remiss not to note that Dan Da Dan's first season also left fans hanging in the most excruciating way possible–cutting to black right at the brink of its next big arc. Thankfully, the sting of that cliffhanger didn't last long, as the series was swiftly renewed for a second season. Now, GKids and animation studio Science Saru are teaming up once again to bring Dan Da Dan: Evil Eye to the big screen–a theatrical preview featuring the first three episodes of the new season. While the film introduces some new annoying pacing quirks typical of anime compilation releases, Evil Eye still sets the stage for an anime that continues to push boundaries with breathtaking animation, high-energy action, and emotionally charged storytelling. If its momentum holds beyond what Evil Eye showed us, season 2 is gearing up to exceed expectations when it premieres this July. Evil Eye picks up right after the events of Dan Da Dan Season 1, with Okarun, Momo Ayase, and Jiji Enjoji diving into the mystery surrounding Jiji's cursed family home. Their investigation uncovers not just one, but two terrifying forces lurking in Byakuja Village: a monstrous worm kaiju that emits blinding light, driving its victims to the brink of self-destruction, and the Evil Eye–a sinister yokai that grants Jiji immense power akin to Okarun's, but at the cost of his self control. As if these threats weren't enough, the trio must also contend with the Kito family, a chilling cult with jaundiced-eyed martial artists, responsible for generations of child sacrifices, believing it's kept the village protected from calamities. Evil Eye preserves Dan Da Dan's signature eccentricity, seamlessly blending horror and comedy with razor-sharp precision. One moment, Momo is locked in a harrowing battle with the Kito family, evoking the eerie menace that is characteristic of Junji Ito's work. Next, she's turning the tables in a bare-knuckle brawl straight out of a kung fu flick. Whether delivering tension or laughs, the film nails its timing, utilizing direction that goes beyond simple stylistic gimmicks to embrace anime's unique storytelling strengths fully. With dynamic flourishes reminiscent of a YouTuber's fast-paced editing, Evil Eye sharpens its emotional impact, drawing attention to key details, leaning into meme-like framing, and amplifying each heartfelt moment through swelling music and abstract, painterly animation. The result is a story that lingers long after the credits roll. One of Dan Da Dan's greatest strengths is its ability to add depth and texture to its cryptids and yokai—rather than using tragic backstories as fleeting emotional bait, it ensures they resonate beyond mere shock value. While many contemporary anime lean into dramatic pasts only to quickly abandon them for the next big arc, Evil Eye fully embraces the complexity of its supernatural elements, elevating them beyond surface-level tragedy. A prime example is its treatment of Jiji and his connection to the titular Evil Eye. Much like the series did with Acro Silky and Aira Shiratori, it takes a character once framed as comic relief and enriches them with poignant storytelling, recontextualizing Jiji's class clown nature while giving emotional weight to Evil Eye itself. Instead of feeling like a disposable antagonist, the entity becomes a compelling force within the narrative, allowing its presence to linger in a way that feels more poetic than performative. And Jiji isn't the only one stealing the show–Turbo Granny delivers some fantastic spit-take comedy as the group's petulant babysitter, Momo lands devastating kicks, and Okarun shines with his signature cool-guy monologues, complete with an unmistakable JoJo's reference. Evil Eye is the latest proof that Dan Da Dan is anime's ultimate genre chameleon, effortlessly shifting tones and styles in an instant. This time, it leans deeper into its horror roots, channeling the eerie tension of a Takashi Miike thriller with razor-sharp timing between terror and comedy. But Evil Eye doesn't just pay homage to horror–it pushes the boundaries of Yokinobu Tatsu's ongoing manga, elevating its cinematic flair and expanding the chaos to thrilling new heights. Visually, Evil Eye redefines familiar anime techniques. Impact frames take on a hypnotic, lava lamp-like fluidity, while fight choreography moves effortlessly between close-quarters intensity and exhilarating free-running sequences. Evil Eye does many things well, serving as a teaser for what's to come, but it falls into a familiar trap for anime compilation films—padding the runtime. Instead of jumping straight into its horror-thriller setup, it lingers too long on a highlight reel of past episodes, making the early moments feel more like promotional material than an organic transition into the new season. While neat in theory, this approach dulls the impact of what should feel like a feature-length event. Other GKIDS releases have excelled at diving right into the action, but Evil Eye takes nearly 20 minutes to commit, with an additional 10-minute interview with co-directors Fuga Yamashiro and Abel Gongora sandwiched at the end, further stretching out the experience in disengaging ways where a director interview would have sufficed. This echoes a past misstep from Dan Da Dan's previous theatrical promo, where behind-the-scenes footage was put at the start of the film, with a majority of its 'how the sausage is made' segments spoiling major reveals before audiences even what they were in store for. A mistake GKids had been good about not repeating with its other anime preview films! While the nostalgia is appreciated, it hasn't been that long since the series aired, and the extended recap feels more like unnecessary filler than a seamless setup. As a result, instead of thrusting audiences straight back into its cliffhanger momentum, Evil Eye slows things down, making its start feel more like a drawn-out warm-up than a thrilling leap into the next chapter. Of course, it wouldn't be Dan Da Dan without another cliffhanger; them's the breaks with anime compilation preview films. But beyond these minor frustrations, Evil Eye takes bold, creative strides, upping the ante for anime adaptation in a way only Science Saru can. Once defined by its punchy, vibrant colors, Evil Eye teases how the show will go beyond briefly winking at other genres by fully leaning into a dynamic approach to fully manifesting their foundations and aesthetics, further solidifying Dan Da Dan's ever-evolving identity. Hopefully, that momentum will carry on beyond its opening stretch in new and galaxy-brained ways when the series makes its grand return. Dan Da Dan season 2 premieres this July on Netflix, Crunchyroll, and Hulu. Evil Eye hits theaters across the U.S. June 6.
Yahoo
20-04-2025
- Entertainment
- Yahoo
Faith-Based ‘The King Of Kings', ‘The Chosen' With Hatsune Miku Anime, ‘Pride & Prejudice' Re-Release Indie Standouts Easter Weekend
Faith-based films drew audiences Easter weekend alongside the re-release of Pride & Prejudice and an anime from GKids in a crowded market that was challenging for traditional indies. Angel Studios' animated is in the no. 3 berth on 3,535 screens with $17.3 million in week 2 for a $45.3 million cume. (Season 5) Part 3, from Fathom Entertainment, also in week 2, grossed $1.8 million for an $11.6 million cum for a no. 9 spot.. Season 5 is now the highest grossing installment of the series, generating $42.4 million at the domestic box office. Parts 1-3 have a projected U.S. weekend of $2.6 million. More from Deadline 'Sinners' Finds Salvation At Easter Box Office With $45M+ No. 1 Opening Win - Sunday Update 'The Wedding Banquet' Director Andew Ahn On Leaning Into "Optimism And Joy" In New Reimagining 'The Shrouds' Is A Milestone For Distributor Sideshow: "We're All Pinching Ourselves We Get To Work" With David Cronenberg - Specialty Preview GKids' sits at no. 7 on 800 screens with a $2.76 million opening, the anime by studio based on Hatsune Miku: Colorful! mobile game about high school students finding their true feelings through music in an alternate world. Focus Features' rerelease of from 2005 is no. 8 with $2.7 million Bleecker Street's by Andrew Ahn opened to a weekend gross of $922.9k at 1,142 theaters. This is a reinterpretation of writer James Schamus and director Ang Lee's 1993 arthouse hit. Moviegoers Entertainment debuted Hindi in 315 theaters to a debut of $742.7k as per Comscore. Adapted from Raghu Palat and Pushpa Palat's legal historical drama The Case That Shook The Empire. Stars Akshay Kumar. Briarcliff Entertainment opened animated family film in wide release at 1,500 locations to a debut of $525k. IFC Films' debuted to $175k in moderate release at 501 locations. Limited releases: David Cronenberg's is looking at an estimated $52.1k on 3 to 250 locations next weekend. A24's adventure fantasy grossed $52.2k at four theaters. Best of Deadline 'Ransom Canyon' Book Vs. Show Differences: From Quinn & Staten's Love Story To Yancy Grey's Plot Everything We Know About Netflix's 'Ransom Canyon' So Far 'Ransom Canyon' Soundtrack: All The Songs You'll Hear In The New Netflix Western Romance Series
The Independent
28-03-2025
- Entertainment
- The Independent
Studio Ghibli distributor pushes back at AI attempts to ‘replicate humanity' as classic film returns to cinemas
Studio Ghibli 's U.S. distributor GKids has alluded to the controversial trend of AI-generated images imitating the distinctive style of the Japanese animation studio as they celebrated the return of 1997's Princess Mononoke to cinemas. This week, social media has been swamped with images in the style of Ghibli founder Hayao Miyazaki that were in fact created by a new version of ChatGPT. The trend has delighted fans but also highlighted ethical concerns about artificial intelligence tools trained on copyrighted creative works and what that means for the future livelihoods of human artists. At the same time, a new 4K restoration of the Studio Ghibli classic Princess Mononoke has been released to Imax screens. The animated feature has already made $1.2 million in previews ahead of its official opening today. In a statement to Variety celebrating the release, GKids VP of distribution Chance Huskey said: 'In a time when technology tries to replicate humanity, we are thrilled that audiences value a theatrical experience that respects and celebrates Hayao Miyazaki and Studio Ghibli's masterpiece in all its cinematic hand-drawn glory.' In the past, Miyazaki has strongly condemned artificial intelligence technology. In the 2016 documentary Never-Ending Man: Hayao Miyazaki, a group of developers showed the director and animator a crude AI-generated animation demo of a zombie that could be used for a video game. The person demonstrating the animation, which showed a writhing body dragging itself by its head, explained that AI could 'present us grotesque movements that we humans can't imagine.' That prompted Miyazaki to tell a story. 'Every morning, not in recent days, I see my friend who has a disability,' he said. 'It's so hard for him just to do a high five; his arm with stiff muscle can't reach out to my hand. Now, thinking of him, I can't watch this stuff and find it interesting.' Miyazaki added: 'Whoever creates this stuff has no idea what pain is whatsoever. I am utterly disgusted… I strongly feel that this is an insult to life itself.' The viral AI trend has been shared across various social media platforms, with the White House posting its version of the craze on Thursday. The post drew widespread criticism. The White House used the tool to illustrate a picture of a woman from the Dominican Republic crying after being arrested by ICE. The image has been viewed more than 45 million times on X/Twitter, with many users calling the post 'evil' and 'ghastly.'
