Mermaids and humans try to coexist in a unique anime
Without having to give up her voice to the sea witch, the mermaid princess in the Japanese anime film “ChaO” gets the husband of her dreams. However, their seemingly destined bond does not immediately appear as a perfect love story. Instead, it begins by simulating an outdated arranged marriage to secure thriving relationships between humans and sea people, then evolves into a story of cohabitation and work-life balance. Although not original in concept — Hayao Miyazaki’s “Ponyo” or Masaaki Yuasa’s “Lu Over the Wall” and “Ride Your Wave” come to mind — Yasuhiro Aoki’s feature debut sets itself apart with vivid visual skill and a unique style.
Set not in Japan, but in the Chinese city of Shanghai, the story of this union across kingdoms is framed by an interview conducted by a young journalist from the near future with the mysterious Stefan (Oji Suzuka), Chow’s human companion, to debunk this reality’s history book accounts of how their connection came about. In the opening scene, the vibrant production design reveals that the densely populated city has been modernized to accommodate the water dwellers of a diverse community. But how did they achieve this comprehensive utopia?
Back to the younger Stefan, an even more enthusiastic and ambitious engineer than the one who narrates the tale of years to come. He works for a ship manufacturing company, which finds itself at a political crossroads: King Neptune (Kenta Miyake), ruler of the ocean, threatens to sever ties with humanity if nothing is done about screw propellers on merchant ships that are harmful to humans. Although Stefan has been working on an air plane that would prevent these injuries, his boss has little interest in hearing about his expensive idea. That changes when ChaO (Anna Yamada) encounters him at sea and remarks that she has been in love with him for a long time. For the collective benefit, Stefan agrees to marry her in exchange for the resources needed to develop his vision.
The backgrounds in “ChaO” are full of rich details, reflecting the visual saturation of a busy city like Shanghai. The visual uniqueness of this fantasy depiction extends to the character design, which one can instantly distinguish from most anime, whether feature or series. The eyes on Stefan and most of the characters, for example, are simple and drawing-like, rather than enlarged and detailed. In contrast to these restricted facial features, there are those with large heads or oval-shaped bodies. The aesthetic extravagance is most evident in the Sea People, who all take human form on land and live as sea creatures underwater. Only when a person trusts a human can they retain their anthropomorphic bodies.
Enter the ChaO, which appears to have been made with the intention of maximizing its appeal in fish form. Her rounded figure, bright salmon-colored skin, large, widely spaced eyes, and foam-like hair make her an unearthly lovable presence. Underwater, ChaO’s appearance transforms into that of a mermaid that one can more easily recognize, but with bluish hair.
In a rocky start, Chow and Stefan move into his small apartment, an adaptation of the former that ignores how everyday human life works. Endearing comedy is extracted from her impromptu teaching about what Stefan likes to eat or even what fireworks are and whether they can be spread indoors. Stefan’s friends, scientist Ruppelt (Yuichiro Umehara) and Maibai (Kafka Shishido), step in to parent ChaO, as Stefan turns dismissive toward what seems like an imposed partner.
The artists behind “ChaO,” particularly character designer and supervising animation director Hirokazu Kojima, have crafted a world featuring a cast of characters whose personalities resonate as memorably as their eclectic composition — think of the oversized child casually strolling down Stefan Street, likely at the same time every day. There are sequences that dazzle the kinetic verve of the animation: a music-driven moment that sees ChaO dancing inside the fountain as she manipulates the water around her or an aerial sequence involving one of Robelt’s robots is a standout.
When ChaO disappears after angering Stefan, the latter must return to his childhood trauma to understand his deep connections with his potential wife and reconsider his future. Hanasaki Kino’s screenplay may be brimming with creativity, which matches the film’s other extreme qualities, but it’s Stefan’s growth into maturity that ultimately emerges as a major theme. His pursuit of professional greatness becomes secondary to his appreciation for more fundamental accomplishments: starting a family of his own. Whether visual or emotional, this journey is an exhilarating and exhilarating experience.