Kimi no Na wa.

Mitsuha Miyamizu, a high school girl, yearns to live the life of a boy in the bustling city of Tokyo—a dream that stands in stark contrast to her present life in the countryside. Meanwhile in the city, Taki Tachibana lives a busy life as a high school student while juggling his part-time job and hopes for a future in architecture.

One day, Mitsuha awakens in a room that is not her own and suddenly finds herself living the dream life in Tokyo—but in Taki's body! Elsewhere, Taki finds himself living Mitsuha's life in the humble countryside. In pursuit of an answer to this strange phenomenon, they begin to search for one another.

Kimi no Na wa. revolves around Mitsuha and Taki's actions, which begin to have a dramatic impact on each other's lives, weaving them into a fabric held together by fate and circumstance.

[Written by MAL Rewrite]

Miyamizu, Mitsuha Main

Kamishiraishi, Mone Japanese

Tachibana, Taki Main

Kamiki, Ryunosuke Japanese

Yukino, Yukari Supporting

Hanazawa, Kana Japanese

Okudera, Miki Supporting

Nagasawa, Masami Japanese

Miyamizu, Yotsuha Supporting

Tani, Kanon Japanese

Teshigawara, Katsuhiko Supporting

Narita, Ryou Japanese

Miyamizu, Hitoha Supporting

Ichihara, Etsuko Japanese

Fujii, Tsukasa Supporting

Shimazaki, Nobunaga Japanese

Natori, Sayaka Supporting

Yuuki, Aoi Japanese

Takagi, Shinta Supporting

Ishikawa, Kaito Japanese

Bezerra, Wendel Producer

Kawamura, Genki Producer, Planning

Itou, Kouichirou Producer

Takei, Katsuhiro Producer

Reviews

Sep 19, 2026

Renan_

Recommended

In Your Name, semiotics is deeply connected to melodrama: the dualities of time, space, body, identity, and memory are not merely abstract concepts, but are incorporated into the mise-en-scène as ways of representing the relationship between Taki and Mitsuha. The film’s strength lies in making these abstract ideas perceptible through images. The red thread, the comet, twilight, their bodies, and the spaces they inhabit form a system of signs in which landscape, light, and composition acquire meaning through proximity and separation. As a result, the fantastic and the emotional dimensions of the film become inseparable. The fantasy does not exist merely as a narrative device, ... but as a way of transforming abstract concepts into concrete experiences through the image.

The world of the film seems constantly to reorganize itself around Taki and Mitsuha. The distance between Tokyo and Itomori is not merely geographical, but also temporal, and the separation between past and present becomes more than a difference in time. The film transforms these distances into visual and dramatic obstacles that shape their relationship. The exchange of bodies makes their approximation extraordinary: they do not simply live with one another, but rather live within one another, experiencing each other’s bodies, spaces, routines, and social relationships. Identity therefore becomes both individual and shared. The fantastic premise materializes a form of intimacy that would be impossible through conventional coexistence, allowing the supernatural to expand the possibilities of the melodrama.

Destiny runs throughout the film as a formal principle. Rather than simply being stated, it is constructed through the mise-en-scène itself. The red thread suggests a connection that persists across distance and time; twilight creates a moment in which different temporalities can meet; the comet turns the sky itself into part of their trajectory; and the spaces they inhabit gradually become paths toward one another. These elements belong to the same formal movement, in which images, objects, spaces, and temporal transitions repeatedly express the bond between the two characters. Even on the scale of its fantastical premise, Your Name remains centered on their relationship. The coherence between its semiotics, mise-en-scène, and melodramatic structure gives the film much of its enchantment, as if the entire world were continually finding new ways to express the same connection until separation itself becomes a form of encounter.

Reviewer’s Rating: 10

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Sep 16, 2026

Fenrir366

Mixed Feelings

After trying four times to appreciate this movie, I've only found it to be one of the most boring things I've ever watched.

I've given Your Name multiple chances because of how highly it's regarded, but every single time I've come away with the exact same feeling: boredom.

The animation is beautiful, the backgrounds are gorgeous, and I can understand why so many people love the movie. But none of that managed to make the actual experience interesting for me.

Maybe there's something I'm simply not getting, but after four attempts, I think I've given it more than enough chances.

Four times was enough. I still don't like it.

Reviewer’s Rating: 6

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Apr 26, 2026

mothcub

Not Recommended

Funny

The popularity of this truly baffles me. In almost every respect it is so poor - the characters have zero personality and the central relationship is not built up at all, the entire film is ugly and taking constant cost-saving measures, and the plot is thin and drawn out. It is bafflingly lacking in every creative and narrative aspect and then on top of that, it casually has our male protagonist sexually assault our female protagonist every single day.

We even have a scene at the end of the movie where, now reunited, the couple hop cutely from "why are you sexually assualting me?" to "do ... you like my ribbon?" as if her anger and upset (very clearly expressed) about the former literally do not matter at all. Okay. I guess it's unsurprising that the producer of this movie is literally a convicted rapist of young girls.

That would ruin many a good movie for me, but the utter lack of characterisation really makes this an almost The Room tier failure. There is so much awful dialogue. When Taki searches for Mitsuha cross-country they have almost no established relationship. Do we even know anything about who Taki is across the entire movie? No, not really.

The only part of the movie I enjoyed was the midpoint reveal, just because suddenly we had an actually interesting plot vehicle, but aside from that, the entire narrative felt deeply empty. The movie is so bored with itself that it has Taki repeat the same inane questions ("am I trying to remember... someone?") over and over again for an excruciating, drawn out ending desperately trying to use its music cues to juice a single emotion out of me, like getting blood from a stone.

And yes, in some shots the detail in the scene is nice, but the touted prettiness of this movie was massively overshadowed for me by its many implementations of really cheap animation shortcuts and misses, like the over-reliance on CGI, Mitsuha's warped run cycles, and those ugly frame-drop moments.

Awful, awful movie.

Reviewer’s Rating: 1

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