Liz to Aoi Tori

*Cultivating fertile land for the skyborn* ~~ !! SPOILER-FILLED !! Let's all take a step back and dip ourselves into introspection. Are we alright with our relationships? Is it helping us become a better person, are we helping them become one? What have we gained in keeping it as it is, what have we neglected? Can we be ourselves and bloom in each other's gardens or are we wilting in parasitic symbiosis? ~~ Liz and the Blue Bird zooms into the sensitive grounds of codependence with an aim to break away from it through self-discovery and growth in the fulfillment of the act of letting go, presented under phenomenal direction by Naoko Yamada conveying artistically a story of two close adolescent girl friends oblivious to their potentials and subconsciously repressing them on account of the other as they journey on through the mundane colors of everyday high school life gaining cumulative realizations ultimately gathered together for the decision to separate ways as two joint entities. A lot has been said about Yamada and team's technical expertise, yet I would like to follow suit nonetheless as it is a topic most appropriate to mention. For one, it can be seen in the slight shifts of facial and bodily expressions layering the interactive depths of casual and emotive activities. Although the touches can be described as subtle, the refined details of character interactions and motion picture elements are actually rather conspicuous especially to the interested and attentive viewer (I mean, as with most story pieces). Precisely because it isn't that straining to notice that makes Liz and the Blue Bird all the more connecting, unlike some fictional pieces which make us double think of a high possibility that these details engage us in apophenia and not meaningful ruminations. Concrete examples are found from the beginning. The environment is calm, the music a soft set of chimes, the camera gives a second for the gate's bars, footsteps stand out from the silence of the school as introverted Yoroizuka Mizore enters the scene. Nature is motionless as another unknown person walks past Mizore. Now, all of this is directly contrasted when our resident Miss Popular Extrovert Kasaki Nozomi presences and the trees start rustling and a bright yellow plant sways with the wind and the music kicks up in liveliness mirroring Mizore's inner state. Everything is intentional: the distance between the cast, the focusing camera, the timing of the soundtrack's play--all are evidently executed with a delicate touch. The challenge from others I've mostly observed, and have experienced myself on the first watch, is ascribing meaning to these decisions. It is not only until the climax near the end where the build up gushes into a stream of pathos, yet it isn't even that explosive with cannonball barrage of screams and tears flying everywhere to begin with. That isn't what Liz needed to be. I found in my rewatch that the atmospheric tone--resembling feathers soft and faint with yellow and blue hues on lighter tints--taking things slowly and minimalistically tells us, the viewers, to put ourselves in the main duo's shoes, and to observe their relationship where words usually fail to be spoken through the cues of the frames and the soundtrack laid out by the team. It is rather identical to the complexities of human relationships, especially one between two troubled, opposite individuals yet too blinded to see their worth. When it does come so much more overt such as in the absolutely phenomenal performance of Liz and the Blue Bird's third movement, it delivers perfectly, where everything needed to be said can and has been said through this powerful mode of communication in the form of instrumental music. Right afterwards, the film carries its momentum in upfront confrontation, now with the release of repressed words. ~~ "So pretty. Like a lake mirroring the blue sky." Liz and the Blue Bird heavily relies on figurative comparisons in bringing the main protagonists to life as a technique to fill in the lack of dialogues between Mizore and Nozomi, appropriate in the reflection, in the parallelizing, of the characters to each other and to the the fiction inside the storybook the movie's title comes from, all in relation to the setting of the school and the plotline of the future chasing the students' shadows. What I love about this approach is its thematic relevance. Through the presentation of x character against AND as y character the author successfully explores in wide breadth and profound depth the story's intent. Couple this with contextual cues, then what simple messages that have been conveyed will turn into, at the very least, subconscious and natural amazement of the film's coherence what with its smooth meshing of concrete and abstract narrative elements. And yet, this influence is not only limited to our standpoint as viewers, as the plot itself shapes how the characters are feeling in a more sensitive level. I mean of course this is the same with other pieces of art, but Liz and the Blue Bird executes this in a more elegant and clarified way. It's like the characters are a life of their own, and watching this film is an invasion of privacy. In the same way, observing it casts us into the characters souls and live as them in all its sensitivity. The clarity of the sound heard in footsteps and even from the opening of the zippers of bags attests to the intimacy, putting us in the living characters' shoes. To illustrate (well, literally), the association of Mizore and Nozomi with Liz and the Blue Bird, in the viewer's perspective, gives us clues on what the protagonists represent. Initially, the judgment is fixed: the ordinary and lonesome Liz is the fictional counterpart of the shy and reserved Mizore while the Blue Bird who roams freely with energy from place to place with her exceptional capabilities is Nozomi. Additionally, there was a moment, at 47:36, where Nozomi opens the window and then we softly hear birds chirping in the background. And so the film reinforces the idea that Liz = Mizore, Blue Bird = Nozomi. This was not really debatable as the movie exacerbates this conclusion early into the film especially as we see it through the eyes of Mizore. Although, even from the start, we see Nozomi giving Mizore a blue-colored petal, indicating her perspective, but that was easily overpowered by Mizore's lens. And it's very easy to be drawn into a depressed character than peering through the extrovert's actions, right? One is overt and relatable to the majority, while the other, is not really someone authors focus much on. There is this notion that depressed = deeper, a more conflicted character is more profound; joyful = shallow, the sociable, especially when compared with the introvert, is someone less interesting, one with less issues. But Liz and the Blue Bird takes care of that unnecessary stigma and so much more assumptions regarding relationships in general. It tells us that this thought process is mistaken in the fictional sphere and in the real world. How does it convey this to us? That is by showing both Mizore and Nozomi, our film protagonists, that they are mistaken as well, with the twist that Nozomi can also be Liz and Mizore can also be the Blue Bird. What we learn is essentially what the characters have learned on the fly, too. That's what I meant by the cast having a life of its own, like us. It's such a cool thing to do, the author talking simultaneously to the viewers and the characters in a similar degree. This allows for a more striking impression to the already-immersed observer where they can experience a more chasmic connection to this piece of art. This multifaceted, multidimensional storytelling intertwining the viewer, the characters, and the author and their team together makes for an experience consciously enlightening. Retracing back to the topic of comparisons as this wields significance in the nature of human relationships,…

Communication is more than just words. This is a concept '𝘓𝘪𝘻 𝘵𝘰 𝘈𝘰𝘪 𝘛𝘰𝘳𝘪' masterfully understands and utilizes to create an engaging and emotional character piece. The film features two gorgeous and vibrant animation styles, perfectly creating a distinct contrast between fiction and reality - both these stories are connected by their shared symbolism of the colour blue, expressed through the 'bird' characters expressing their limitless freedom like the sky and the ocean, but their melancholic fate to fly beyond what they love. Both stories aid each other in delivering an emotional narrative. The plot of the film is straightforward and uncomplicated, but the smaller scope worked in the films favour, in connecting with the audience on an emotional level. The film whilst being primarily focused on the interactions between the main characters, it also features music as a core part of the film (being a part of the Hibike! Euphonium series), which is why it is pleasing that the soundtrack was certainly another highlight of the film. The soundtrack itself was solid and the utilization of it was appropriate and suitable in establishing tone and ambience, adding to the narrative perfectly. The film greatly has the characters communicate to the audience and to one another through typical dialogue but also detailed and realistic actions. The film shows the audience through effective 'camera' framing, the slightest motions of the characters adding increased depth into what they are saying or not saying, giving the audience an engaging experience as they connect with the characters to better understand them. The only negative factors about this film are the sometimes convenient dialogue featuring the 'Liz and the Blue Bird' story, forcefully hammering in the symbolism, and perhaps some people may find the pacing of the story to be on the slower end (although in my opinion, it was perfect), this film is a prime example of why animation and stories as a whole are compelling, so I recommend this film to all.

Liz and The Blue Bird made me cry. That's the review. I definitely am a sucker for anything that has a central theme of longing/yearning and unrequited love, I think that it is something that is bittersweet and beautiful to watch unfold and this is no different, actually, it might be the one of the best ones I've ever watched. Reminds me of Celine Sciamma's Water Lilies as it explores the relationship of 2 girls in the school orchestra and how a piece of music can be the tool to shatter everything that's already in place. In usual Naoko Yamada fashion, Liz and The Blue Bird is full of secret glances, delicate touches, suppressed emotions and highlighted, small gestures. It is incredibly quiet and peaceful, teasing you with very controlled directing. It's very reminiscent of A Silent Voice that way, which I loved. I think that the back and forth between reality and the fairytale is done so well, and the music ties them together in place. I adored this work because I think that it did everything right and it was executed so nicely, perhaps it can be too plain and slow for some but I think it was definitely the right one for me. I think it's perfect for anyone who wants to watch a movie with no male characters on sight, beautiful music and a graceful relationship as its center.

The visual aspect, it’s shouldn’t be mentioned anymore just how good the animation is, considering it is from KyoAni after all. Yamada’s storyboards really took advantage of the skill of its in-house animators, and even the smallest twitches and glances feel so lively that they convey emotions by themselves. The movie itself has two different styles, one is what is mostly used throughout the movie, showing real life as it is, and another, children book style that tells the story of Liz and the Blue Bird. Both are truly eye candy in their own ways. I really recommend this movie, and particularly because you don’t have to have prior knowledge of the Euphonium franchise to truly enjoy it (speaking as someone who doesn’t follow the franchise properly). I might rewatch it later when I have the time, and my opinion might change, but for now I’m giving it a 9/10.

The beauty of Liz and the Blue Bird is how small it is. It isn’t a movie of grand proportions like Your Name. We’re trapped with Nozomi and Mizore within the confines of their high school, barred from entering the outside world with them to attend the festival or the pool. It’s nothing more than a brief look into a relationship between two girls as their time together in high school comes to an end. We watch as the two girls play a game of tug of war, neither wanting to let go of one another. It's suffocating. Liz and the Blue Bird is a beautiful story of self-discovery, identity, and what it takes to let go of what you love.

Liz and the Blue Bird is a film that builds its narrative much more through aesthetics than conventional dialogue. The fragmentation of the body, with shots highlighting hands, feet, and small gestures, allows us to perceive the melancholy, loneliness, and difficulty of connection between the characters without them having to express these feelings in words. The use of space is also very interesting, especially in the school scenes, where the background appears blurrier and less detailed than the characters themselves. This keeps our attention focused on them, as if what really matters in those moments is what they are feeling. In contrast, the story of Liz is much more colorful and vibrant, and this visual difference reinforces the characters' emotional states and the way they understand their relationship. Music also plays an important role, particularly through the relationship between the oboe and the flute, which musically expresses the difficulties of harmony between Mizore and Nozomi and accompanies the changes in their relationship. I find it very interesting how the film develops its drama without relying heavily on dialogue, exposition, or explanations of what the characters feel. It is the gestures, framing, spaces, music, and the story itself that construct these emotions and move the narrative forward. In this sense, the film has a very strong formal unity, and a formalist approach helps us understand how all these elements work together to create the experience it seeks to convey. Despite this, I felt that the film's emotions and conflicts were somewhat basic compared to the depth its form seems to suggest. I can understand what Mizore and Nozomi feel, and I admire the way the film transforms these emotions into images and sounds, but that doesn't mean I became emotionally involved with them to the same extent. I felt a sense of melancholy from beginning to end, but at a certain point, it wasn't enough to make me grow more attached to the characters or become more deeply invested in their conflicts. I think I was able to perceive their feelings much more than I was actually able to feel them. Because of this, my experience of the film was much closer to observing a demonstration of the possibilities of cinematic language than to emotionally experiencing what was being presented. This doesn't diminish the strength of its formal unity, but it creates a distance between its formal richness and its dramatic depth.

Liz and the Blue Bird (Liz to Aoi Tori) is a great side story for Hibike! Euphonium. I understand why many people consider this movie the jewel of the franchise. In only one hour and thirty minutes, the story talks about emotional dependence and the importance of letting go of the people you love. There will be a moment in your life when the people you love will no longer be with you — not because of death, but simply because they must live their own lives. We must appreciate the moments that we share with them (not only romantic couples, I mean friends or family as well). In addition, the movie made me feel a bit weird; I felt that my tears were stuck and my heart had a void. As a KyoAni movie, the animation is perfect. I love the risky decision to change the art style compared to the first and second seasons. Now the color palette is pastel, cold and unsaturated. The animation feels so delicate, and I love that when they talk about the fairy tale, the animation changes to a style similar to watercolors. The character development was perfect. Of course it focuses more on Mizore’s point of view, but Nozomi’s arc develops in the background of the movie through small details. And I love how they mirrored the fairy tale — they were both Liz and the Blue Bird. The script was perfect. I love how it starts so slowly; it lets you process everything. I love the parallelism between the tale of Liz and the Blue Bird and the movie. All the arcs close perfectly. I also love how they use the birds and contemplative shots throughout the film. P.S.1: I love how Mizore meets new friends. P.S.2: It’s really strange, this feeling. The movie left a void in my heart, but at the same time my tears can’t escape from my eyes.

Liz and the Blue Bird is a beautifully directed film, with its use of music almost perfectly conveying the characters' emotions. There is always a sense of something deeper beneath the surface, leaving you wondering whether it's a love story, a breakup, or a story about finding oneself. I loved the symbolism between Mizore and Nozomi and the story of Liz and the Blue Bird, while the watercolor art gives the film a beautiful identity of its own. However, I never felt much depth to Mizore and Nozomi's relationship beyond their quiet companionship, with most of the emotional weight seemingly coming from Mizore's side. It feels like a beautiful fairy tale with a simple moral, but also one that is fairly linear and surface-level. It's a lovely supplement to Sound! Euphonium, but neither the characters nor their relationship are interesting enough to surpass the main series.

This is a movie that will always be special in my heart. It's not the most well written or produced film you'll see, it will never win any awards or see high praise, but still I love it. Mizore is a character I relate to very strongly, and her relationship with Nozomi reminds me so much of one I used to have and will never have again. I was content with what little of them we had in season 2 of Hibike Euphonium, but when Liz was announced I was so happy. I watched it so many times once I was able to. I doubt anyone working on the film will ever know how much this movie means to me, but I'm thankful that something so deeply resonant to me could exist.

There is a fairy tale about Liz, a girl who lives alone in a peaceful forest all year round. One day, a blue bird flies by and breaks its wing and is helped by her, helping Liz's loneliness to be somewhat relieved, but she knows that one day when this blue bird recovers, she will be lonely again. Liz and the Blue Bird is the name of that story, which is also the name of this anime. In the summer of their senior year, Mizore and Nozomi - 2 close friends since childhood - go to school to practice for their last concert, after this concert, the two will say goodbye to each other and go their separate ways. The plot is relatively basic, but the beauty of the anime is the way it tells the story through images and sounds. The anime uses many light color blocks, creating a slow, deep atmosphere for the movie, as if time is stopping, which combines well with the music. It is a spin-off movie of Hibike! Euphonium, the music is of course good, but this part is raised to a new level, all the movements from the pen, the star, the ponytail, the foot movement are like creating music. Verdict: "Liz to Aoi Tori" is a perfect low note, a great 1 and half hour experience that i think anyone should give a try

Liz and the Blue Bird is a nice spin off of the Sound Euphonium series Story: The story in this movie focuses on Mizore and Nozomi instead of Kumiko and Reina from Sound Euphonium. It starts off slow, but then does get moving. There are aspects of the book "Liz and the Blue Bird" and how it relates to the characters when it comes to growing up and parting ways which is well written overall. Music is an important aspect as well. Animation: It's notable to mention that the animation is not as well as Sound Euphonium, but still look stunning in it's own way because of its simplicity. Characters: We know from Sound Euphonium that even though both are friends, Nozomi is an extrovert while Mizroe is an introvert which appears in Liz and the Blue Bird. Both of their characteristics are interesting to watch as well as how their differences impact their friendship. Overall this movie did great when it comes to the story, characters, and animation. While this movie isn't required to watch for the Sound Euphonium series, it's a great addition to understanding the side characters more. 9/10

Having watched this without watching the main anime, I must say it was still very refreshing. The concept of binding love or freeing love that is depicted so beautifully was indeed captivating. Also watching it on the heels of kono oto tomare, the music and it's link to visualization of feelings was beautiful in this movie as well. The female leads are lovely in all their characteristics, although identifying with the introvert girl is far easier. The competition comes in very naturally but the struggle to not let it impact the relationship is so nicely portrayed. It is easier said than done, but the movie really showed from Liz's perspective how it should be done if your love is stronger than other things in life. Recommended for an easy watch when looking for something sweet but not too emotional.

Both Girls represents the musical piece of Liz and the Blue bird and i freakin love how they, in certain scenes, switch back n forth with their representation, its basically my favourite part lol. Artsyle is very fitting to the story, and the story itself often happens in real life so its realistic and im sure people would relate to it as much as i did (i did in some part). Despite having no special musical skills or talent, i love the musical part. I only decided to watch this for the i love you hug part but i thoroughly enjoyed this as a whole.

Liz and the Blue Bird is an anime by Kyoto Animation set in the classrooms of a typical Japanese school which focuses on the teenage life of two female students, who have to deal with some important choices for the upcoming future as well as their friendship. Liz and the Blue Bird is characterized by a remarkable artistic and poetical component, starting from a pleasant graphic style, nice use of lights, convincing animations, a minimalist and nostalgic representation of the various places, along with the use of a particular palette of colours which I really appreciated more than usual. When it comes to the narrative style, Liz and the Blue Bird is pleasantly on the sentimental and slow-pace side, without any particular surprising or high-paced moments, an approach that while I believe for the most has been nicely handled, sometimes instead looked to me like the anime was not taking any specific direction, which is the only minor point of remark I have to make. That’s why I believe, ultimately, Liz and the Blue Bird is a nice anime which managed to convince me, with its simple but genuine connotations of profound sentimentality, just on condition to be available to embrace its persistent slow-pace rhythm. Thanks for reading!

An expression of unspoken human emotions, Naoko Yamada's gem. Liz to Aoi Tori is a work riddled with careful detail in each frame and design choice. Despite not having seen its parent story, Hibike! Euphonium, never have I seen an animated film introduce and develop a story through characterization so intricately as it has. It does this through its brilliant use of cinematography, movement, and sound. Clever uses of camerawork act as an extension of space to bring depth to its scenes. They also add more layered meanings to what certain shots could represent, which I find absolutely genius. For instance, peripheral tracking shots of the two protagonists walking through the hallway in the first half show their relationship's dynamics, with Nozomi cheerfully yet distantly leading the way to (and being) Mizore's world. However, nearing the climax, this same shot style is seemingly juxtaposed to highlight that distance, showing the rift in their relationship. All other framing methods were used by Yamada with such unique visions behind them, amplifying the smallest yet most significant of moments. Movement in the film is delicate enough to capture even the sincerest of human experiences. Characters fidget with their hand placements to emphasize a struggle in finding the right words to say. Slight aversion of eyes are meticulously animated to convey a sense of that introverted awkwardness. Moreover, its use of body language heightens the story's ability to tell more than what it actually gives you. The way Mizore would have her hesitant mouth movements and gentle head nods or how vibrant Nozomi's hand gestures would be, adds to the rich subtext of its narrative. Upon noticing these motions change along the passage of the movie, you'd begin to experience how much more genuine their moments would feel. I can't even get started on its sound design. I was captivated by the blend of diegetic sounds with each piece from Kensuke Ushio's warm-tuned score. I adore how each ambient sound had a purpose to be mixed in with its corresponding song (like the use of footsteps in wind,glass,bluebird). In lieu of words, the film also knows how to make silence or music take over and speak in the most moving of scenes. The scene with reflexion,allegretto,you playing was just simply magical. There is still so much more to talk about, and each time I do, my appreciation grows exponentially for what Naoko Yamada can do with this medium. It may not be the grand melodrama she created with Koe no Katachi, but it's a film graced with subtleties woven together to make up one beautifully profound experience. A new favorite anime film I'll always be grateful to have stumbled upon and one that'll stick with me for a long, long time.

Liz to Aoi Tori is a spin-off story of Hibike Euphonium but doesn't require you to watch Hibike Euphonium to enjoy this anime, The story focuses on the lesson of you should not hold someone back no matter how much you love them and does justice to it, The anime shows 2 stories with the same lesson and balances the act b/w both of them perfectly, The chemistry of our 2 MC's is great, the music is one part where I felt they could have done more by just giving us more of it and the beautiful animation give this anime an awe factor that frankly I didn't expect from it because there is no jaw-dropping scene in this anime that screams beauty rather it's the intricacy of small things that just make it something to behold the best example is the orchestra scene on the surface it looks to be a scene for music to take over and nothing special for animation but the intricacy of interactions of characters with instruments is just beautifull Overall this is a masterpiece

Liz and the Blue Bird is a side story to the second season of Sound! Euphonium, but this time, we're focusing on two side characters - Mizore and Nozomi. While it's not incredibly essential that you watch the first two seasons of Sound! Euphonium first, you'll likely want to. There's a handful of events that are referenced here from the previous series so I'll assume you've seen them for the purposes of this review. Story: The events of Sound! Euphonium 2 have now been completed and all our characters have now shifted into their next school year. This means characters like Reina and Kumiko are in their second year and Mizore and Nozomi - the focus of this movie - are in their third and final year. The Kitauji High School band are shifting their focus to a piece called Liz and the Blue Bird and the third movement of it features the Oboe and lead Flutist. Yes, this means Mizore and Nozomi. You may recall that they had a bit of a falling out in the second season, but now that things have been patched up, it's presumed, by the audience, that this should be a piece of cake. However, things are not so rosy. During rehearsal, Mizore notices Nozomi is in possession of Liz and the Blue Bird children's book, the book that the piece is based off of. She reads it and parallels what happens in there with her friendship with Nozomi. This causes Mizore to start being more emotional to her friend and she begins to heavily think about what life may be like when her life turns out like how Liz's did in the book. I really like what they did with this. The book itself is shown to us, just like our characters, but it's not given an overbearing amount of screen time - just enough that we get why this parallels our two main characters. There are so many emotional bits in this movie and, while the calm and cool Nozomi remains pretty constant, the heavily introverted Mizore let's it all out for her friend. It's just so well played out and due to it being a side story, I fear that this won't be expanded on in the future. And that's a shame. One awkward thing about the story is that even though this takes place in the next school year, the new characters that are now first years, aren't 'that' well introduced. They kind of just... enter the picture. The only one of much significance is Ririka, but it's still slightly strange, none-the-less. Some people will be a little bummed that their favourite characters don't get a ton of screen time, but this movie does do an excellent job and bringing out, not just Mizore and Nozomi, but a bit of Yuuko and Natsuki as well. I got the sense that this movie featured Mizore and Nozomi as two characters that would be dating, rather than just be best friends, but that's obviously up for heavy debate. The Sound! Euphonium franchise in general doesn't focus on romantic relationships, so it's to no surprise that's an absence of anything that would look romantic. However, this is a beautiful take on the relationship that Mizore and Nozomi share and any fans of their short arc from season 2 should watch this movie for that alone, here. (9/10) Characters: Mizore reminds me a lot of Adachi from the recent series, Adachi and Shimamura. She's very introverted, quiet, dedicated and seeking the attention of the one she cares for. The critical difference is that Mizore is very good with her words when she gets an opportunity. The climax of the film really shows what she can do when she's put some deep thought about her situation. She's clearly very talented, so much so that she's considering going to post-secondary school for music. That being said, we've seen first hand how she can act when panicked and I always felt on edge whenever everything doesn't go exactly her way. Nozomi, in contrast, is very open and happy-go-lucky. She knows she has a strong bond with Mizore, but it almost feels like she takes it for granted during parts of the film. One reason I love the musical theme is that it forces the two to play a piece together and it allows the film to show us what's going on with these two. Nozomi clearly takes the lead to start the film, but as the band practices more and more, we notice what's going on with Nozomi's playing and how it's being affected by the events previous to that, during the runtime. It really does go to show that not everyone can hold it together in every situation. The new President and VP, Yuuko and Natsuki, have minor roles in this film too. They're mostly there to act as another set of ears when our characters relationship is questioned and I'm actually really glad they chose them over, say, Kumiko or her friends. I can only assume Yuuko and Natsuki will get bigger roles in the future, so I hope it's consistent with what we've seen here. Ms. Niiyama also provides a small role in that same vein as well. Ririka is a fellow oboist and joins Mizore in a few of their ventures during the first half of the film. I actually really liked her inclusion here, even though her intro felt slightly awkward. She's a bit of a messenger for her classmates in the beginning, but then starts to attempt to learn who Mizore is, who does return the favour at times. It doesn't look like she's involved in future installments, which is a shame because she's a bubbly character that I'd welcome to see more of. The cast in Liz and the Blue Bird are strong and I really liked their choices on who to include here. Fans of Kumiko and friends will be disappointed at not seeing their favourites, but trust me, the characters that are in this film have some excellent plot points, all the same. (9/10) Art: This movie takes a bit of a different art style, versus the main series. The main series went for more shine and polish and this one looks slightly more playful. Even though it has less detail, the movie was never too focused on story, as opposed to characters so the different style didn't bother me too much. (8/10) Sound: The sounds in this movie reminded me wildly of those that I heard in "A Silent Voice", a movie of very different themes. The only reason I picked up on this was because I actually watched A Silent Voice with my girlfriend a week or two ago. It seems to work here with the lighter theme, but it doesn't really expand on variety. However, the piece that the band is focusing on sounds fantastic. Sound! Euphonium has a history of great sounds and this is no exception. One piece I played in high school that reminded me of the piece in this movie was "Fantasy on a Japanese Folk Song" by Samuel Hazo. The central purpose of the songs are completely different, but the soothing woodwind sounds reminded me of that - I recommend taking a listen. It's a little strange to me that this got an English dub, but the rest of the series didn't. Stephanie Sheh (Nozomi) and Xanthe Huynh (Ririka) were the standouts for me, though lesser known names Megan Harvey (Yuuko), Sarah Williams (Natsuki) and Laurie Hymes (Mizore) were all great too. I can't say I can point to a weak voice cast and even though bigger names were reserved for small roles, this cast played this out really well. (9/10) Overall Enjoyment: Fans of the Sound! Euphonium should watch this movie, as it focuses more on two characters who got a good arc in the main series and had that story expanded on here. You're not watching this for the band performance goal like in the series, so the highs and lows are probably less obvious here, but the story is beautifully well told. It's worth the 90 minute watch, easily. (9/10)