Night Is Short, Walk On Girl 2017

This is my own ranked and ordered list of the best/dankest anime that I've watched so far in my illustrious Chinese-cartoons-watching-career. If it's in the Top 50 (make it even Top 100), you better watch it ASAP because well... I do have phenomenal taste ( ͡° ͜ʖ ͡°)
More in-depth list is over at MAL http://myanimelist.net/profile/dankzel

Practically the whole of your childhood is dead (including the Powerpuff Girls), bigotry has entered the White House, we are about to face similar problems for the same reason, and Pokémon have taken people out of reality and off of cliffs. It's no wonder I go to the cinema so many goddamn times. However, with all these disinteresting sequels and "original" concepts, I don't see that happening nearly as much as 2016.

As far as I know, there's no farting corpses, very little hot dogs, hardly any seagulls, no chance of cute 3D redheads and a bunch of gems I've already witnessed first at a festival. Until another festival can surprise me, be it Flare, Sundance, LFF or even the LIAF, the most notable experience I can think of as of yet is seeing who else will attend the My Little Pony movie.

One thing's for sure - there will be less to see than last year, and the rising interest in digital releases doesn't help (especially with the region cheats). Will there be another Carol like there was twice last year, not counting their UK releases this year? Or is 2017 just going to be the weakest year for film by far? Unless we act soon, it won't just be democracy that's dead.

Anyway, movies!

From the breakthrough of Akira in 1988 through the exquisite films of Miyazaki Hayao to the recent blockbuster Your Name, Japanese animation has captivated audiences around the world. But anime’s history runs deeper still. Here we select 50 titles that celebrate its full, fascinating riches.

https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/rise-of-anime

A list of little over 100 Japanese, Chinese and Korean animated movies

There isn't a more beautiful list than this one tbh:heart:

Items to be updated. Please don't like the list. It's just for use with a script as I'm still too lazy to implement the auth just for this. Thank you.

The ultimate collection of anime movies!

I don't update this often so if you want something added please leave a comment.

For use in Plex-Meta-Manager:
https://pastebin.com/raw/kEuid8Kn

Taken from this List:
https://myanimelist.net/forum/?topicid=1692966

List created and maintained by https://listrr.pro

Only Japanese Anime Movies from 19xx to 20xx (Non Japanese Anime Movies is not included JUST Japanese Anime Movies)

The newest and dopest animated movies that catch my eye

Access this list in CineTrak.
Every movie listed here: https://letterboxd.com/2019/#our-annual-winners
NB: The list includes movies such as "MOST DIVISIVE" and Miniseries

List created and maintained by https://listrr.pro

Only Japanese Anime Movies from 19xx to 20xx (Non Japanese Anime Movies is not included JUST Japanese Anime Movies)

2017 released movies I probably want to watch.

21st EDITION – JULY 13-AUGUST 2, 2017
Missing :
Cocolors
Plan B
Punk Fu Zombie

Anime premiering during Spring 2017.

Previous season: https://trakt.tv/users/sp1ti/lists/anime-winter-season-2016-2017
Next season: https://trakt.tv/users/sp1ti/lists/anime-summer-season-2017

PTW Asian movies

films that are elevated or sophisticated in their themes, style, and execution, often blurring the lines between traditional genre conventions and arthouse or experimental cinema. These movies are often considered to be a combination of commercial appeal and artistic merit, combining elements of popular genres such as crime, science fiction, or horror, with more serious and thought-provoking themes, innovative cinematography, and a focus on character development. High art genre movies are often more character-driven and less reliant on conventional plot structures, and they challenge the audience's expectations while providing a unique and engaging viewing experience.

incomplete

*

Distinctively stylized/weird/artsy in some way, conveying a particular sense of style that feels unusual.

From Cageian phantasmagoria & 18th-century mischief to a world-weary Western and a stolen Singaporean road movie
Once upon a time, Derek Smith wrote: “2017 was a year endured rather than lived.” But all due respect to the past, because here we are creeping into this new 2019 and things are so much better than we thought they’d be!

True, the year probably felt like 37 years or whatever removed from Rick Deckard’s squared-off tie and malfunctioning memory. And truth be told, the political crisis unfolding in the gray hallways might seem more honest if it resembled the light-starved, gnarled noir of Blade Runner. At least Schwarzenegger and The Running Man promised that 2019’s only choice would be “hard time or prime time,” even if its presentation of a neon capital, corporate-owned world seemed, you know, subtle. And for all the (dead) kids in cages and bodies bleeding out on street corners here and abroad, Michael Bay and The Island had a perfectly-drooped Buscemi diagnosing our humanist crisis: “I mean, you’re not human. I mean, you’re human, but you’re not real. You’re not a real person, like me.”

A lot of people were told they weren’t humans in 2018. This isn’t a writerly evasion or poetic epithet designed to elicit righteous ire/compel you to read another year-end list. Because what else could you call the concentrated attempt by some humans to discourage the freedoms of other humans? Our narrative didn’t turn science-fiction to let us off the hook: these non-humans weren’t clones or replicants or estranged Atlantean denizens returning to claim their kingly right. They just weren’t human enough (or the right kind of human) to matter in the eyes of louder, more powerful humans. All of our past’s proposed images of our worst futures pale in comparison to this denial of basic humanity that we see out our windows.

It is unsurprising, then, that cinema, our most volatile cultural mirror, began to show the stretch and strain in its images of our species. But what is surprising is that cinema in 2018 retained nuance and compassion as it mediated the cruelties and depravities of its age. Unlike this slab of prose, movies in 2018 moved beyond mediating good and evil in simple, monolithic terms. They attempted to sketch the boundaries of real freedom in an unjust world (BlaKkKlansman). They investigated, more acutely than ever before, the responsibilities of what it meant to keep (Shirkers) and tell (Madeline’s Madeline) another human’s story (If Beale Street Could Talk), especially in remembrance (Roma). They presented distorted genealogies (Hereditary) and fisheye-lens histories (The Favourite) to track the human body’s motion (Suspiria) in and out of comradeship (Support the Girls) and trauma (Burning). In 2018, we hurled our betrayed humanities up against foreign corpses (Zama), scorched country (The Ballad of Buster Scruggs), alien twins (Annihilation), and incongruent voices (Sorry to Bother You). We began to see, in everything, something like a way through the darkness. Why else keep watching the past (The Other Side of the Wind) if not to plot something we’d never imagined before (The Night Is Short, Walk On Girl)?

Our moving images in 2018 proposed that real love (Eighth Grade) and genuine care (Lazzaro Felice) could stretch impossibly across time to add up to a life steeped in both nuance and compassion (Won’t You Be My Neighbor?). Our love would not look the same (Leave No Trace) nor could it resound in strictly-feasible tones (Mandy), but we would recognize its absence; we could see that sometimes humanness looks like something we’ve never seen before (Spider-Man: Into the Spider-Verse).

More than anything, as one derelict theory proposed, “Through the negative you could see the real, inner, demonic quality of the light.” In laying the responsibilities of the filmmaker and artist at the feet of a murderer, The House That Jack Built came perilously close to endorsing our worst demons. Those demons shook and raged and hissed at us, urging us to give in to despair and make a world in their image. How did we let it stand? Thomas Merton was a central figure in a figurative, feral lens for our year, and he wrote that “despair is the absolute extreme of self-love.” To levy our humanity so close to inhumanness, suggesting that our better angels are distortions, is dangerous. To know, as these 25 films know, that there can be nothing without despair until there is love is to actually be human. To look, as we did, through our ruinous year and resist the despairs of all our oppressors and lowest urges, to shout, in image and montage and light and shadow, that this is how I deny you is to attain, beyond our humanity and into the future, a new kind of prayer. –FRANK FALISI

Source: https://www.tinymixtapes.com/features/favorite-25-films-2018

... no?! Then you should!

Movies, series and cartoons based on comics from around the world. I excluded most anime series because there’s to many. Only movies based on manga here.