11/7/2023 0 Comments Colors movie![]() ![]() The beauty of *COLORs* is how it combines its themes of doubles and surface-level questions about sexuality to show the multifaceted complexity of a person. Pinku’s double-life as an idol is itself a double of what Pinku really does, showing that, in a truly nuanced fashion pertaining to sexuality, there is always more than simply what a clean label would insinuate. We are also privy to seeing the Pinku that Kuro is not able to see, as we spend time with Pinku talking with figures whose faces are obscured. Yet maybe that’s a fool’s errand because Kuro’s question is far too simple. And every time that they just miss one another in some way, and the end of the MV hits with its perhaps exaggerated but non-literal climax, there’s always the underlying thought that how would what we see transpire if they did, in fact, meet early? Would their destinies have changed, or would they just drift apart again? We can only guess just how many nights Kuro spent wondering about them. So, as the MV’s story gradually unfolds, we learn that it is Pinku’s impression on her, more than the boy, that is likewise what dominates Kuro’s imagination. The image of Pinku, rather than the boy from class, is what dominates the MV. All Kuro can do throughout the animation is observe Pinku from a distance, captivated by the glorious array of color and light from the fireworks that surround them. She spots Pinku at a festival, but before she decides to go find and talk to them, Pinku has had plenty of time to move somewhere else, not knowing that Kuro was even there. Kuro passes by a café where Pinku is drinking something (which opposites a portion of the second verse), but decides to catch up with the people she’s walking with instead. Director Araki Tetsurou (*Bubble,* the Studio WIT seasons of *Attack on Titan,* and *Death Note,* among others) built every almost-encounter to touch on the possibility of “what if,” before beautifully backing down and letting the unfortunateness of the moment set in. We as audience members know the truth through numerous audiovisual clues, yet Kuro, the one who is not in the know, constantly finds her curiosity and intuition thwarted by circumstance or her own inability to muster her courage. But Kuro actually asking that ultimate question is, ultimately, not the point – rather, the *COLORs* MV is a rumination on an answer always being just slightly out of reach, either in terms of its literal or metaphorical meaning.Īnd it’s because she never gets a proper answer that Kuro is dogged by the thought in numerous ways. For someone who has such an intensely personal way of being, particularly because of something relating to sex or gender, that’s not the kind of thing that Kuro, both by politeness and her own shyness, is able to just ask about, no matter how innocent the intent. After all, if this boy and Pinku are the same person and they happen to be in Kuro’s class, then wouldn’t walking up to them and just bluntly asking be the most-sensible thing to do? The problem though is that asking about such a private matter is, needless to say, horribly unwarranted. But as to why? Well, it’s certainly not for the lack of opportunity. lies on her bed and turns over – “Is this the same person?”Īs time passes, Kuro cannot directly get an answer to her question. That expression that Kuro saw matches that of the boy who just recently joined their class. For a fleeting moment before the train goes by, they make eye contact. For a girl with black hair (who I’ll call Kuro since she doesn’t actually have a name), she sees a girl with pink hair (who I’ll call Pinku, because again they have no name in-text and their pink hair is one of their defining physical features) out by the train station. Sometimes, a single look and a chance encounter are all that it takes to form an intense fascination. ![]()
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