B R I E F   S Y N O P S I S
Hearing a crying noise coming from a pile of rubbish, three energetic homeless people—Gin (ex cycle racer), Hana (ex drag queen) and Miyuki (runaway girl)—find an angelic baby. Gin insists that they go to the police, but Hana, who has always dreamt of having a child, decides to name the baby Kiyoko. The three 'godfathers' then embark upon a journey to find the baby's parents. Screenplay by Keiko Nobumoto (Cowboy Bebop: The Movie) and director Satoshi Kon (Millennium Actress, Perfect Blue). In Japanese with English subtitles.
  Tokyo Godfathers
   
 

The three lead characters of this film are homeless. They meander around in the Tokyo mega-metropolis, trying to find the parents of a baby who was abandoned on Christmas so that they can return the baby to its home.

Some people may think it is strange that the lead characters of the animation are presented as homeless. However, the fact that they have lost most of what they ever had makes them all the more suited for this story, because it is intended to be a "story of recovery."

Homeless people can live only in major cities. Big cities, where people
and buildings are crowded together at high densities, host a huge range
of consumption-based lifestyles.

These kinds of lifestyles result in disproportionate surpluses that simply end up being discarded, but at the same time, these surpluses provide food and clothing to the homeless, and the shade and crevices between buildings provide living places for them.

The three lead characters are nourished and protected in the big city
of Tokyo, where they encounter the abandoned baby, who is more defenseless than they and cannot live without receiving protection from someone.

Don't you think that when people see something even weaker than they are right in front of their eyes, they can sometimes become unexpectedly strong? The lead characters, who of course have no jobs, no money, lack ties with family and friends, and have lost their relationship with the community, become deeply involved in taking care of the baby. In doing so, they recover their lost vigor while encountering many unusual occurrences and miracles and meeting a wide range of people.

However, the process of recovery is colored by "funny tragedies" and "sad comedies." When someone is trapped in an unfortunate situation, the harder that person tries to escape, the more comical his efforts appear to onlookers, whatever he tries. Such paradoxes and contradictions are common, reported every day in the news in newspapers and on TV. In other words, the world is full of joke-like realities.

The audience may view this film as merely comedy, but what is reflected is strictly comical reality. This film, which has multiple layers and multiple sources, may seem to be both tragic and comical, depending on where the viewer locates his viewpoint. And this film does not have one single interpretation, just as reality has no single interpretation.

But above all, I really want you, the viewer, to find your own story in this film.

   

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