Oshii draws a line on the humanitarian subject and the visuals keeps breaking the boundary, what a pleasure to watch them chase each other.
Oshii is painting like a kid. Highly innocent and equally honest. The director, Mamoru Oshii, has a precise vision about this world. In fact, the script itself might not have enough to say. Drawing plenty of the tracks from the comic book itself, the script follows a textbook structure, plot wise. Something that we have seen earlier too in a similar sci-fi futuristic world that breathes artificial intelligence and other highly configured robotic terms. And just like them, to be human, to feel and to be.. them, is what’s grabbed from the first frame of the film. Reproduction takes a whole new explanation and so is death in a mythological prospect.
But, what draws your attention is the layout of the film. Like some profound painting, the film is colored sensitively and staged colorfully that expresses intensively about the characters. The cinematography deserves a shout out, then so does the animation, yes, it does not hold up with time, yet, there is something soothing to every now and then, visit those perfect-imperfect world of 90s animation. It still cheers me up to see the hair in these format of the films float like they are underwater.
Fortunately, the drama is embraced more, than the action is well choreographed. Even though, the stakes of the situations where our lead character often jumps in on, is low, it was smart of them to pull off an unstoppable aspect- time- for their final act. Again, I don’t and didn’t travel to this world for its gritty action stunts but the drama and just like the Blade Runner world, it not only doesn’t thrive on it, but also is never provoked to punch its way out of the trouble, the deep down alter ego of ourselves, that Ghost In The Shell, that we all fear, is asked to face upon.