it's incredibly boring, but it's got heart.

A arte é bonita,mas o decorrer do filme é muito lento,maçante de assistir,e não vi nenhum desenvolvimento real dos personagens, as experiências que ela passou,foram tão comuns,nada muito interessante, marcante,nem reflexivo. Por isso é tão desconhecido dentre as outras obras do estúdio ghibili. Mas acho que entendi a mensagem que queria passar que era a protagonista conseguir digerir "traumas/situações complicadas" do passado dela. Por isso o título do filme remete isso,ela não conseguia digerir esses acontecimentos completamente mesmo depois de adulta. Mas de qualquer forma o filme é chato mesmo,o final é tão sem graça,ficou aquela sensação de que faltava alguma coisa...e não tô falando do toque de fantasia que o estúdio geralmente traz pra outros filmes. Enfim é um filme que vai agradar poucos.

Usually, when people think of coming-of-age movies, their first thoughts are unhinged teenagers roaming around the city creating future problems for themselves. However, Only Yesterday by Isao Takahata, a dubbed Studio Ghibli Japanese film takes a different approach. The film is told from a first-person point of view through the eyes of twenty-seven-year-old Taeko Okajima. Takahata takes the viewers on a serene and delicate journey comparing moments of Taeko's life as a child and as an adult. He pictures the formation of Taeko's character development in a way that completely engrosses the reader into her life—making it feel like the viewer is experiencing Taeko's life for themselves. He does so through the use of storytelling techniques such as point of view and structure. Overall, Only Yesterday revolves around Taeko's “bittersweet” life reminiscing about her younger self (Peter Bradshaw). On her train ride to the countryside for her short trip, she realizes how her dreams and hopes for the future as a child have drastically changed as an adult. As a child, she despises veggies, math, and envisions herself as a successful child actor. She can be described as a whiny but optimistic child whose hopes are turned down by her family, mainly her older sister Yaeko. Yet despite her disagreements with her parents, she grows up to be a thoughtful, soft-spoken adult who by the end of the film is finally able to decipher what she truly desires. She has learned to value moments in life while as a 10-year-old, she would have felt lonely and unfortunate. Takahata does a brilliant job of sharing the story through the eyes of a female protagonist by clearly emphasizing her joys and struggles growing up. Because the movie is being told through Taeko's perspective, the viewer acknowledges that even in her rebelling moments, her intentions are pure. Taeko seeks what she believes is best for herself in an attempt to escape the feeling of loneliness. She unknowingly pursues validation and needs the reassurance that she is on the right path, especially as someone who takes mistakes to heart. For example, she feels defeated when the fruit that she was itching to try was a complete disappointment. Everyone around her accepts the dissatisfaction of the pineapple, while she holds onto the little hope that she has and forces herself to eat the fruit with tears in her eyes. Furthermore, Takahata cleverly provides “clear delineations between Taeko’s past and present” in a “patient” manner (Bill Goodykoontz). He structures the film using long pauses--making specific moments awkward but realistic. An example of this is when the viewer is left alone with Taeko to hear her painful cries after she is wronged for refusing her sister Yaeko’s hand me down purse. Taeko’s memories of herself as a child are extremely vivid. Takahata’s ability to replay her moments of strong emotion and his ability to time everything correctly is yet another reason for why the viewer feels as if her experiences are their own. Although it is the viewer’s first time seeing Taeko’s memories, she is reliving them—once again she becomes her ten-year-old self and for a second is able to escape from adulthood. It is while she reminisces about her childhood that the theme of “change is ongoing” becomes clear. For instance, when a boy named Hirota admits to liking her, she is embarrassed and takes a moment to think about the way she may be perceived by others. Her face turns bright red at the thought of being noticed by a boy, but when she meets him on her way home, she enjoys their small talk. Likewise, when she is older, she strays away from opening up about her feelings with Toshio. And although according to Peter Travers, “romance is far from the center of the story of its reason for being,” it is a contrasting moment where Taeko takes on the challenge of starting a new life away from Tokyo instead of sitting at her dreadful office job. She accepts her interest in agriculture and love and admiration for Toshio. She is moved by the way he lives life passionately and joyfully, helping others while remaining himself. Only Yesterday was slow paced and nostalgic, especially fit for those who have enjoyed previous Studio Ghibli films and the art style. Like every Studio Ghibli animation, Only Yesterday revolves around a message, specifically, it shares the wonders of childhood and the way Taeko’s inner child continues to follow her throughout adulthood. I was inspired by the way Taeko perceived her inner child and despite the differences in her life, she is aware that her ten-year-old self will forever cheer her on and retain her comfort and form of escape. One of the more fascinating aspects of this animation is the art style and the breathtaking scenery, which I was able to absorb due to the slow paced and peaceful nature of the film. Additionally, Only Yesterday has set the table for future coming of age movies, welcoming audiences of all ages—allowing anyone like me to embrace and value Taeko’s life like my own. In general, Only Yesterday by Isao Takahata is a dubbed Japanese coming-of-age animation which is told from the perspective of twenty-seven-year-old Taeko Okajima. Takahata immerses the viewer into Taeko’s delicate experiences and character development through structure and first-person point of view, clearly outlining her need to reconnect with childhood pleasures. Only Yesterday is better suited for those who crave the feeling of warmth and nostalgia. While watching this down to earth film, you must take the time to relate to Taeko and tie her experiences with your own. Due to the lovely feeling and emotion that this film evoked me, I would score the quality of Only Yesterday a 4/5.

Only Yesterday is a movie that deserves to be talked about alongside the all-mighty arsenal of Studio Ghibli's other works. I was really invested in Taeko's past memories and growth throughout the movie.

As melhores partes pra mim são os eventos que ele conta quando tinha 10 anos

Dev Patel my king!!!

Taeko é uma mulher de 27 anos, solteira, que decide passar as suas férias no campo, trabalhando em fazendas locais. Isso se deve porque, quando criança, ela queria passar as férias escolares no campo como suas amigas, mas como ela não tinha parentes morando lá, ela continuava em Tóquio. Porém as memórias de quando tinha dez anos voltam, ela deve resolver que rumo ela dará para sua vida. Um delicado drama, que mescla muito bem presente e passado, mostrando como o que aconteceu quando ela tinha 10 anos, marcou a sua vida adulta. Ao mesmo tempo que elogia a vida no campo, com belíssimas representações da vida rural, o filme critica muitas coisas como a vida dura dos agricultores e o pouco incentivo a eles, o machismo ainda muito infiltrado na sociedade japonesa, com a história sobre menstruação quando a protagonista era criança e as críticas que ela recebe por ter 27 anos e ser solteira e ela indicar que muitos amigos dela continuam solteiros com essa idade, demonstrando uma mudança na sociedade. O filme tem um ritmo lento e contemplativo que pode afastar algumas pessoas mas, no final, temos mais um belíssimo trabalho dos Estúdios Ghibli.

Putz, como esse filme é bom. mds do céu

This film is too dramatic and there’s not a lot of happy moments.

Only Yesterday has a really endearing story at heart, but the poor pacing makes you feel the length of every minute

Must see original Japanese language version. Eng dub is terrible.

It seems like it was only yesterday. How many times have you thought back on all the strange and awkward moments in your past? Did you laugh, shudder in embarrassment, cry?

This story gives an amazing message whilts combining chilhood and adulthood

One can relish in Only Yesterday's leisurely pace to appreciate its beautiful animation and reflect on its deep undertones.

To the other raters who say nothing happened, there was no opposition, or it was a terrible ending. Quite literally missed the boat. There is constant struggle that easily coincide with the young and grown Taeko, with specific examples that cause direct memory flashbacks. And to the ending, keep watching through the credits. Enjoy the situation and dilemma, and then sit an extra two minutes and enjoy.

you just gotta believe when the anime is from ghibli studios, it will have a unique magic. This one is no exception. I was so mesmerized i watch all the ending credits aaaand instantly rewatch it from the beginning.

The greatest 01 hour: and 55 minutes ever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

amazing, very emotional and touching the ending is fantastic. not for kids though.

I feel like I appreciated "Only Yesterday" more than I actually liked it. I think it is a fair movie, with profound themes. I just felt kind of bored once the movie hit its halfway point. I found the main character likable and engaging, but at a point, I just didn't feel invested. The film has big things to say that make it worthwhile, but for me, it just doesn't do as much to emotionally resonate as other Ghibli ventures. Overall, even though many say this is among the best from the studio, for me the complete package was just okay.

one of the best ending for an anime, just wow!