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Shunsuke Watanabe

Shunsuke Watanabe

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The Girl from the Other Side 2019 (7.3)

Touch not the Outsiders, lest ye become an Outsider. But when two creatures belonging to opposite kinds - a lost little girl from the Inside and a demonic beast-looking Outsider - initiate an impossible coexistence on the same side of the forest, their bond seems to transcend their incompatible natures and the unnamed curse that has divided the world.


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The Girl from the Other Side 2023 (7.125)

Once upon a time, in a far, faraway place, there were two lands. The world was divided into an inner land and an outer land. People feared the outer land, inhabited by eerie beings, the carriers of curse. One day, on the border to the inner land inhabited by humans, one such being finds a girl on heaps of abandoned dead bodies. The girl says her name is Shiva and shows affection to the "being" who found her, calling him "Teacher." This is a story of two people—one human, one inhuman—who linger in the hazy twilight that separates night from day.


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Hello, Goodbye 2017 (7)

Hazuki and Aoi are classmates but their relationship outside class is fraught, and outside school non-existent. But when both girls are drawn to helping an elderly woman, they're forced to interact, confronting their differences and similarities as well as their deepest secrets.


Shunsuke Watanabe

Shunsuke Watanabe

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N/A


Most Known for...

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Genius Party 2007 (6.5)

The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.


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