What do you want to do?　Bermuda Triangle - Colorful Pastorale - Episode 10 - Loose-Footed Impressions

Episode 10 of the anime "Bermuda Triangle - Colorful Pastorale. This is the last three episodes, but we will not go in an idol anime direction. In the vein of the previous episode, we will focus on the making of the film, not just showing it. Is it good?　Can you fit it in the length of the film?　I was a bit nervous while watching the film.

The use of music in this film is impressive, and this time, during the avant title (before the opening), there was a slightly disturbing background music with a piano bouncing around like a cacophony. It is natural to think that this is an indication that a story with a slightly different temperature from that of the peaceful daily life is about to begin. At the same time, I think it was a signal from the creator that "this avant-title is very important, so don't just watch it.

I thought it was wonderful that the simple shadow puppets and the narration by Noriko Hidaka's character Aldi were enough to make the images convincing. I think sublimating cost and manpower constraints into an impressive production is a craftsmanship that has been handed down since the Showa period.

Mr. Aldi told us, "Deep in the kelp forest, a pearl in the black valley was shattered and became a jellyfish in the sea. And the one grain of light that remained was actually born around a grain of light. ......" It is a fairy tale. Here, "So that's the village of Parrel!" and the key point is that it is the canon that reacts with excitement. Even though this information is new to Kanon and the audience, for Sonata and the other children who grew up in the village, it is a folklore of the creation of the village that they have heard over and over again since they were small children. Why are you explaining something that is common knowledge to the villagers to the viewers after all this time? The film carefully removes the noise from the story, which tends to make the viewer wonder, "Why are you explaining something that is common knowledge to the villagers now? It is an inconspicuous but careful job.

Now, the main motif of this story is the rainbow-colored kineorb found (yes, found again) in a movie theater. Upon investigation, it turns out that the rainbow-colored kine orb is an unused pre-recorded orb for which no images have yet been recorded. This is where Mr. Coda, an idol geek, Mr. Kiterezu of Parrel Village, comes in. Mr. Coda lends the kine orb a mysterious camera that records exactly what the photographer wants to capture. The unbalanced system of plugging a cord directly into a rainbow-colored crystal ball is a bit fetishistic. It is a fuzzy camera that even the mermaid herself does not know when or what she is capturing, and it might be better to call it a tool for remembering memories rather than a cinematic image.

Sonata, who is trying out the camera, films her friends in their sleep as if it were the "original surprise camera," and Fina and her friends get very angry. They are furious. As I watched Sonata's trial and error as she searched for something she wanted to photograph, I thought to myself, "Ha-ha-ha. I thought, "Ha-ha-ha," as I watched Sonata's attempts to find something she wanted to shoot. What will be recorded on Sonata's film, or rather on Kineove?

The scene skips the festival ...... that Sonata was asked to film (this is the key point) and moves on to a scene where Sonata worries about something strange that was supposed to be filmed at the festival but was filmed instead, and then to a screening of the filmed images. The adults of the village, who had heard the story, were watching, and what was shown on the screen was an everyday scene of the village of Parlel preparing for the festival. What Sonata wanted to capture was the beautiful scenery of the village of Parlel and the people who were looking forward to the festival, all in their natural daily lives, unaware of the fact that they were filming or being filmed.

The images were taken because they could not be taken if they wanted to be taken, and because they were not conscious of being taken. If you have ever made a video or portrait photograph, something about this might ring a bell. The story ends with Fermat's words, "The story of the beginning of Parrelle has a little continuation.

The content of the "little continuation" is not told. The story is told by boldly cutting scenes that do not need to be depicted, leaving only the story and thoughts that lead up to it, and the aftermath of the story. This is a technique that often appears in "Bermuda Triangle: Colorful Pastorale," and I thought it was a distinctive feature of the film.

The ending theme "Shabon" this time is a sonata ver. sung by Tago Rarisa Takeda. I could feel her enthusiasm for singing energetically from every part of her voice, and I thought it was very nice that the outburst of her voice was connected to the cuteness of the song.

(Text by Kiri Nakazato)