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Mirai Full Movie

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Mirai (2018)

Four-year-old Kun struggles with jealousy after his newborn sister, Mirai, begins receiving most of his family's attention. Retreating to the garden, he encounters Mirai as a teenager from the future and embarks on extraordinary journeys across his family's past, gradually discovering new perspectives on love, belonging and what it means to become an older brother.

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5 Comments

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Tara Brady 31 Oct 2018

A crucial scene at a train station ... is almost heartstopping, but the film is never so intimidating that it won't charm audiences from Kun's age and up.

Nigel Andrews 31 Oct 2018

What is it with this country? They don't need the fatuous dimension-whizzing and CGI hyperbolism that is a growing part of western animation. They just need, here, kids and parents and growing pains we all recognise.

Heng L 01 Sep 2018

I thought this was unexpectedly bad. I understand that Kun is a mere toddler, but frankly speaking, his tantrums and meltdowns do not make for an appealing protagonist. I felt more inclined to roll my eyes in exasperation than to root for him. In addition, I thought the reason that prompted his sister to travel back to the past wasn't all that compelling. Worse still, it wasn't explained why Kun could travel back to the past himself and interact with his mother and great-grandfather as a child and energetic young man respectively. I'm all for fantasy and suspending belief, but I thought Mamoru Hosoda focused too much on the theme of family such that he neglected to develop a rationale behind Kun experiencing all these out-of-the-ordinary experiences. And for what purpose?

Jorge Castillo 20 Dec 2018

Mirai's gentleness is the movie's strongest feature. There's lots of comedy but it's all organic to the story and never steals attention from the film's main concerns.

Kenneth Turan 29 Nov 2018

Master Japanese animator Mamoru Hosoda makes family films, but not in the way you think. It’s not that his films are suitable for all ages, though they mostly are. And it’s not even that the family unit is central to his work, though it is. Rather it’s that Hosoda’s films stretch the boundaries of both style and content within the family film rubric.