Filmmaker Mamoru Hosoda showcases a signature fondness for time-travel narratives. The storyteller responsible for beloved films such as The Girl Who Leapt Through Time, Mirai, and Belle constructs magical adventures where protagonists journey through time as well as different realities. His newest animated feature, Scarlet, is certainly in that same vein.
Scheduled for North American screens early next year, this bold reinterpretation of William Shakespeare's Hamlet charts the story of Princess Scarlet, a fallen warrior sent to a limbo-like realm after failing to get revenge for her father’s killing by her uncle, Claudius. Accompanied by Hijiri, a medical worker from present-day Japan whose kindness challenges her thirst for vengeance, Scarlet journeys across phantasmagoric landscapes, confronting ghostly soldiers, cyclical enmity, and the temptation of the “Void” as she seeks out forgiveness and a route home.
“The world’s state of the world after COVID” and “the idea that people can’t forgive these days” are issues that “bring a lot of worry,” the director noted.
Unsurprisingly, Hosoda does more than enough to adapt this classic plot distinctive. However, what really distinguishes Scarlet is the way the director merges his signature style with this classic revenge tale to champion international reconciliation.
In the character of Scarlet, Hosoda examines a inability to pardon, although in her particular situation, those sentiments seem understandable. As Scarlet ultimately confronts Claudius, she is faced with the choice of clinging to hatred or discovering a life past retribution.
Countless individuals continue to struggle from the disruption of the coronavirus era, and its legacy has created a planet deeply divided. Consequently, those who came of age during the pandemic, that matured during isolation, has become notably distrustful. Hosoda explains that Scarlet is “a positive message to the younger generation,” pointing out that the way Hamlet illustrates the cyclical nature of revenge is “still relevant today.”
However, the primary divergence between Scarlet and the work that inspired it lies in what each protagonist's father leaves them with. In Hamlet, the ghost of King Hamlet encourages his son to exact retribution, while the final words of the king in Scarlet are a desperate request for his daughter to grant pardon.
“It’s a perplexing directive because after everything that happened to her family,” Hosoda observes. “She wonders how it can be so easy to forgive. The question presented to Scarlet is how to process the passion, how to forgive. There are many similarities to our current world situation, and I wanted that represented in the screenplay.”
While Shakespeare’s play chronicles its protagonist's descent into madness, Hosoda sought to offer a uplifting journey. The director draws clear connections between Scarlet and the current generation — their raw idealism, their unforgiving anger, their difficulty to find compassion in a broken world.
Much of contemporary media embraces pessimism, but Scarlet cuts through it with visual splendor and a exceptional spark of hope. It flirts with theatricality, but its central theme resonates deeply: a renewed classic with something urgent and honest to say.
Ultimately, a universal wish for humanity to resolve our conflicts “because of the cost of war.” By way of the quest of Princess Scarlet, Hosoda presents not a pat solution, but a vision of a path forward built on forgiveness as opposed to endless conflict.
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