{"id":97557,"date":"2024-02-26T15:45:07","date_gmt":"2024-02-26T15:45:07","guid":{"rendered":"https:\/\/wrongeverytime.com\/?p=39451"},"modified":"2024-02-26T15:45:07","modified_gmt":"2024-02-26T15:45:07","slug":"the-aesthetics-of-grief-in-goodbye-eri","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/02\/26\/the-aesthetics-of-grief-in-goodbye-eri\/","title":{"rendered":"The Aesthetics of Grief in Goodbye, Eri"},"content":{"rendered":"

Tatsuki Fujimoto is a connoisseur of what you might call \u201cdirtbag compassion.\u201d Though his works explore complex and difficult topics with elevated nuance, his perspective always hangs near the muck – dicks getting kicked, toilet jokes, unrepentant, gleeful acts of deviance and perversion. There\u2019s an honesty in that; rather than maintaining the soapy, reverent tone often employed for difficult topics, he talks about grief and hunger and oppression in the way they are experienced, in the context of our messy lives and allegedly \u201cincorrect\u201d emotional responses. His work is essentially the opposite of a Very Special Episode, wherein the harsh aspects of life are framed in slow motion and soft lighting, accompanied by a pensive indie rock ballad. Life is rarely so tonally accommodating – and as imperfect, ever-struggling human beings, our reactions to life\u2019s troubles are rarely the ones you see on television.<\/span><\/p>\n

<\/span><\/p>\n

\"\"<\/p>\n

\u201cGoodbye, Eri\u201d opens with a premise that\u2019s ripe for a Very Special Episode. For his twelfth birthday, Yuta receives a smartphone with a built-in camera, as well as a request from his mother: please document her days as her illness progresses, thus ensuring some record of her life will outlive her passing. Such a conceit could easily furnish a fundamentally sentimental, feel-good narrative about what our loved ones leave behind, but there is no trace of sentimentality in Fujimoto\u2019s dialogue. \u201cYou know I could die from my illness. How does that make you feel,\u201d his mother asks, to which Yuta responds \u201cI don\u2019t wanna talk about that on my birthday.\u201d Both the bluntness of his mother and the evasion of Yuta feel true-to-life, unvarnished, legitimately painful. How could a twelve-year-old be asked to process his mother\u2019s approaching death? It\u2019s impossible – pure fantasy, the kind of story we tell simply to coddle our audience, not to articulate anyone\u2019s earnest, felt experience.<\/span><\/p>\n

Fujimoto has no patience for such cinematic sentimentality, but he <\/span>does<\/span><\/i> respect the inherent power of the camera\u2019s eye. Chainsaw Man is frequently elevated by its emotionally charged paneling, and Goodbye, Eri\u2019s smartphone conceit is no less defining. Trapped behind the camera\u2019s frame, we see life as Yuta sees it, a blunt recollection of happy moments, sad moments, a stray cat he found. Our emotions are not stable states – we are inherently flighty creatures, and Fujimoto is dedicated to honoring that truth in his art. In spite of that, across Yuta\u2019s disparate videos, a clear theme emerges. \u201cI\u2019m keeping watch in case she dies in her sleep,\u201d he at one point informs us, articulating his fear through his dedication to not missing a single moment. We see his desperation in the specificity of his subjects; a snatched sequence of his father crying, a long held shot on their family toothbrushes. Even this moment is precious; even this experience will fade, as that superfluous third toothbrush is eventually discarded.<\/span><\/p>\n

\"\"<\/p>\n

Eventually, we learn that this procession of snatched moments is not just an articulation of Yuta\u2019s feelings – it is Yuta\u2019s film <\/span>about<\/span><\/i> his feelings, an edited montage he actually presents to his school. This revelation comes abruptly, the \u201cfilm\u201d concluding on a moment of defiantly unsentimental irreverence. Rather than saying goodbye to his mother, Yuta runs from the hospital, queuing a series of explosions inspiring the film\u2019s title, \u201cDead Explosion Mother.\u201d It\u2019s blunt, it\u2019s disrespectful, and it\u2019s quite possibly the only sequence that reflects Yuta\u2019s <\/span>actual<\/span><\/i> feelings about his mother\u2019s passing, and the cruel project she assigned him.<\/span><\/p>\n

The audience\u2019s reaction is, predictably, not positive. Yuta is called to answer for his unsentimental conclusion, informed he\u2019s <\/span>supposed<\/span><\/i> to feel a certain way about his mother\u2019s death, that he should feel bad for treating her so callously. The audience is, apparently, the authority on Yuta\u2019s emotional response; though every frame prior glimmered with the fatalism and numbness of reckoning with a premature death, Yuta\u2019s rebellious conclusion is an unacceptable expression of his contradictory emotions. \u201cDeath Explosion Mother\u201d is a cry from the heart, and having it be so harshly mocked prompts Yuta to make one final project: a documentation of his own suicide, as he leaps from the hospital roof to punish the haters. Death is not sacred; it is omnipresent, and if we can\u2019t learn to laugh at it, we likely also can\u2019t learn to live with it.<\/span><\/p>\n

\"\"<\/p>\n

Standing on the precipice, camera wobbling in his hands, the frame is interrupted by an intruding question – \u201care you gonna jump?\u201d The camera shifts, and then falls away entirely. For the first time since the reveal of Yuta\u2019s movie screening, Yuta\u2019s camera no longer mediates our experience. We see the same girl Yuta does, Eri in full frame, the one person who apparently enjoyed his film. Creating art can be a way of cushioning ourselves, of shielding ourselves from the pain of the world – if you\u2019re taking in everything as \u201cmaterial,\u201d you\u2019re less affected by it in an immediate, personal sense. But with Eri\u2019s blunt question, Yuta is immediately stranded in reality. If honest, shared truth can be reached, it is perhaps only possible through Eri\u2019s absence of coddling, and Yuta\u2019s willingness to put down the camera.<\/span><\/p>\n

This negotiation of the cinematically mediated and the \u201cauthentic\u201d is a persistent obsession for Fujimoto, whether articulated through \u201cDead Explosion Mother\u201d or Chainsaw Man\u2019s Makima and Denji visiting the movies. Though Fujimoto idolizes authenticity, he also clearly sees something \u201cauthentic\u201d in the shared yet mediated experience of cinema, and the formal trickery employed by skillful filmmakers. While Eri admits to loving the sincerity of Yuta\u2019s film, her first response to learning he is the director is to drag him off for film screenings, intent on bolstering his understanding of cinematic craft. The act of watching and appreciating movies together seems almost sacred; it is a way of contextualizing and processing the world, a truth more sincere than impartial reality, captured through art that truly speaks to us.<\/span><\/p>\n

\"\"<\/p>\n

The things we are expected to feel about life never seem to resonate with Fujimoto\u2019s understanding of grief, work, capitalism, love. To find any personal understanding, he must seek abrasive and irreverent art, and find the people who appreciate it alongside him. And so, whether it\u2019s Chainsaw Man or Goodbye, Eri, the moments of characters connecting through film are actually the most intimate – you are not just sharing your body, you are sharing what you love, how you see the world.<\/span><\/p>\n

Given the way Fujimoto relates to cinema, it is little surprise that he both adores formal craft and despises narrative convention. Eri\u2019s response to \u201cDead Explosion Mother\u201d embodies this seeming contradiction; while everyone else shamed him for daring to process his emotions this way, Eri appreciates his manic approach, the vitality of his camerawork, the conflation of grief and bitterness that inspired his ending. Eri\u2019s complaint is not with his concept, but with his craft;\u00a0 he had something meaningful and fundamental to express, but his lack of formal training prevented that meaning from transmitting to anyone but this fellow connoisseur of cinematic emotion. This is how Fujimoto reconciles formal training and sincere expression: it is only through training your eye via countless films that you can hope to express your earnest feelings not just for your own satisfaction, but in a way that will resonate with others.<\/span><\/p>\n

\"\"<\/p>\n

\u201cI only find about one in ten movies interesting, but I\u2019ve had that one movie change my life,\u201d Makima admits in Chainsaw Man. Fujimoto seems to believe the opposite is also true: that even if only one person understands your art, that can be enough to sustain you. Eri and Yuta thus set to work on a second film, Eri expressing her feelings directly to the shutter, Yuta\u2019s emotions clear in the lingering camera\u2019s eye. His thoughts are expressed plainly, incidentally, like through his sudden recognition of the beauty of the stars. Both Fujimoto and Yuta refuse to romanticize either their suffering or their happiness; such rhetorical tricks are the tools of the enemy, society\u2019s methods of limiting our responses and halting our complaints. Fujimoto is determined to be reckless and unchained and honest, and that ethos informs his blunt approach to such poignant human drama, his refusal to editorialize the feelings and experiences of his characters.<\/span><\/p>\n

Yuta explains his conviction simply: as documenters of suffering, \u201cit wouldn\u2019t be fair if creators didn\u2019t get hurt too.\u201d And so we see him get hurt, in all the ways a camera can reveal. As Eri rejects yet another script proposal, we see both Yuta and his camera move back, his wounded emotions clear in his defensive posture. It is a conviction shared by Yuta and Fujimoto; though neither of them are the direct subjects of their stories, they are still embedded inescapably within those stories. Every choice of framing is a choice Fujimoto made, an expression of how he feels regarding what is happening. That is what Eri loved about Yuta\u2019s film – the sincerity of his shooting, his clear love for his mother, his rebellion against this cruel directive to \u201ccapture every moment of her failing life.\u201d That is all she wants from his next project – that same raw, unvarnished sincerity, except bolstered by a clearer understanding of cinematic form. After all, \u201cdon\u2019t you trust Hollywood?\u201d<\/span><\/p>\n

\"\"<\/p>\n

So films are a route to true connection, but films are also liars, perpetual acts of motivated framing and historical revision. Does that make stories dishonest, or simply embellished, infused with our own untrustworthy ambitions? Yuta\u2019s film made his mother beautiful – so beautiful that he was actually condemned for creating it, for creating such a beautiful lie and then sullying it with his own petty emotions. For as we learn, Yuta\u2019s mother was not the woman he captured on film; she was in truth cruel and vain, a TV producer who loved her son only for his capacity to facilitate her own career. Was it wrong to create such a lie, even if he wanted his \u201cmemories of her to be beautiful\u201d? The stories we tell are not just staid records, they are active choices – they are acts of worship, framing reality in such a way as to make the audience derive a coherent emotional experience from a cruel and contradictory world. And Fujimoto finds beauty in every aspect of that process – in the blunt chaos of life, in our desire to make it kinder, and in the tools of connection we\u2019ve developed for telling stories, for creating the lives we wished we had lived.<\/span><\/p>\n

Yuta\u2019s production of \u201cGoodbye, Eri\u201d offers a similar lie – a lie of a girl who was without flaw, a muse who only brought light to the world. Is it contemptibly dishonest to edit our lives this way in order to elicit emotions from others? Isn\u2019t that all storytelling, taking our thoughts and experiences and the stories that resonated with <\/span>us<\/span><\/i>, and forming of them a tale that connects with others? We could say that all storytellers are liars, or we could admit that we are all constantly embellishing and editing and rewriting, attempting to find coherent meaning in the discordant tides of our own lives. We can only hope that our own editors are kind to us – that all the people who\u2019ve connected with us remember the good times, even if we don\u2019t have a kindly documentarian to cut out the selfishness and highlight the beauty.<\/span><\/p>\n

\"\"<\/p>\n

Eri\u2019s only other friend is content with Yuta\u2019s framing; Yuta himself is not. Though he earns the tearful audience that he and Eri sought, \u201cGoodbye, Eri\u201d as screened for his classmates is not just a lie about reality, it is a lie about Yuta\u2019s own feelings. Life doesn\u2019t end with a photo finish and glimmering sunset; life is messy and continuous and ever-shifting, as Yuta\u2019s uncertain fortunes in the years after his film screening reveal. The general audience might accept such a conclusion, but Yuta cannot – and so the story continues, cataloging the ways Eri\u2019s lingering presence impacts his adult life. Can he escape her specter? Would his story be better if he did? Better for a general audience, perhaps, but would it truly reach the other Yutas out there, those who see the world how Yuta sees it?<\/span><\/p>\n

Perhaps that is why the messiness is essential. How do we learn to process life when all our stories are of coherent narratives and clean solutions, of challenges conquered and needs addressed? For Yuta, for Eri, and for Fujimoto, the role of storyteller is a sacred duty, and that duty must be respected through honesty, in all its contentious, defiant, ambiguous glory. And so Yuta at last expresses his truth, whether in a final revision or simply the camera of his mind\u2019s eye. The ending of his last screening was universally relatable, but it wasn\u2019t <\/span>Yuta\u2019s<\/span><\/i> truth, nor Eri\u2019s, nor was it true to Fujimoto. There is no sorrow without ugliness, no catharsis without confusion, and no conclusion that couldn\u2019t be improved with a generous helping of explosions. Embrace cinematic artifice, pay no deference to reality, and hit your audience where it hurts – but always, always speak your truth.<\/span><\/p>\n

\"\"<\/p>\n

This\u00a0article\u00a0was\u00a0mad<\/a><\/em>e possible by reader support<\/a>. Thank you all for\u00a0all that you do.<\/em><\/strong><\/p>\n\n

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Tatsuki Fujimoto is a connoisseur of what you might call \u201cdirtbag compassion.\u201d Though his works explore complex and difficult topics with elevated nuance, his perspective always hangs near the muck \u2013 dicks getting kicked, toilet jokes, unrepentant, gleeful acts of \u2026 Continue reading \u2192<\/span><\/a><\/p>\n","protected":false},"author":65,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-container-style":"default","site-container-layout":"default","site-sidebar-layout":"default","disable-article-header":"default","disable-site-header":"default","disable-site-footer":"default","disable-content-area-spacing":"default","footnotes":""},"categories":[25],"tags":[61,122,127,129,124,128,125,132,131,133,126,130,123,66,94,88,97,56,64,65,60,112,40,75,95,104,33,120,105,101,98,115,30,29,41,86,70,69,68,72,71,26,118,108,24647,87,46,55,48,52,54,51,50,83,62,58,57,109,35,59,63,85,79,82,96,80,27,81,114,44,42,43,45,38,39,110,117,100,111,116,73,89,90,92,91,93,84,78,37,102,34,36,77,67,74,99,113,119,28,121,32,47,49,53,103,31,76],"class_list":["post-97557","post","type-post","status-publish","format-standard","hentry","category-anime","tag-airpods","tag-anime","tag-anime-characters","tag-anime-cosplay","tag-anime-edits","tag-anime-merchandise","tag-anime-movies","tag-anime-news","tag-anime-recommendations","tag-anime-reviews","tag-anime-series","tag-anime-streaming","tag-animes","tag-app-store","tag-app-store-samsung","tag-appgallery","tag-appgallery-oneplus","tag-apple","tag-apple-music","tag-apple-tv","tag-apple-watch","tag-bbc-sport","tag-best-mobile-games","tag-bixby","tag-bixby-xiaomi","tag-champions-league","tag-cyberpunk","tag-cyberpunk-2077","tag-fantasy-football","tag-fifa","tag-football","tag-formula-1","tag-fortnite","tag-free-fire","tag-free-mobile-games","tag-freebuds-pro","tag-galaxy-a52","tag-galaxy-note-20","tag-galaxy-s21","tag-galaxy-watch-4","tag-galaxy-z-fold-3","tag-game","tag-games","tag-golf","tag-goodbye-eri","tag-harmonyos","tag-how-to-backup-iphone","tag-how-to-factory-reset-iphone","tag-how-to-reset-iphone","tag-how-to-restore-iphone","tag-how-to-unlock-iphone","tag-how-to-unlock-iphone-5","tag-how-to-unlock-iphone-6","tag-huawei","tag-ios","tag-ipad","tag-iphone","tag-live-soccer","tag-lol","tag-macbook","tag-macos","tag-mate-40-pro","tag-mi-11-lite","tag-mi-home-security-camera-basic-1080p","tag-mi-home-security-camera-basic-1080p-huawei","tag-mi-smart-band-6","tag-minecraft","tag-miui","tag-mlb-scores","tag-mobile-game-design","tag-mobile-game-development","tag-mobile-game-marketing","tag-mobile-game-monetization","tag-mobile-games","tag-mobile-gaming","tag-nba-scores","tag-nba-standings","tag-nfl","tag-nfl-scores","tag-nhl-scores","tag-one-ui","tag-oneplus","tag-oneplus-9-pro","tag-oneplus-buds-pro","tag-oneplus-nord-ce-5g","tag-oxygenos","tag-p40-pro-plus","tag-poco-x3-pro","tag-pokemon","tag-premier-league","tag-pubg","tag-pubg-mobile","tag-redmi-note-10-pro","tag-samsung","tag-samsung-pay","tag-soccer","tag-sports","tag-steam","tag-steeam","tag-top-10-anime","tag-valorant","tag-when-do-the-iphone-7-come-out","tag-when-does-the-iphone-7-come-out","tag-when-is-the-iphone-7-coming-out","tag-world-cup","tag-xbox-series-x","tag-xiaomi"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/97557","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/users\/65"}],"replies":[{"embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/comments?post=97557"}],"version-history":[{"count":2,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/97557\/revisions"}],"predecessor-version":[{"id":100881,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/posts\/97557\/revisions\/100881"}],"wp:attachment":[{"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/media?parent=97557"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/categories?post=97557"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/wp-json\/wp\/v2\/tags?post=97557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}