SIBLING REVERIE Growth and Interdependence in Mamoru Hosoda’s Mirai

This article refers to the original Japanese-language release.

Mamoru Hosoda’s Mirai (2018) opens in anticipation. Sheet glass fogs over with breath, only to be quickly wiped away as Kun (Moka Kamishiraishi), a four-year-old boy, stares out the window of his parents’ house. He’s awaiting the return of his mum (Kumiko Asō) and dad (Gen Hoshino), but, really, he’s awaiting the future. It arrives shortly in the form of his initially unnamed infant sister, who is soon given the moniker ‘Mirai’: ‘future’ in Japanese.¹ Over the coming months – and by way of fantastical adventures through space and time – Kun will grow to love his new sibling, as Hosoda builds on the themes of familial interdependence established in his earlier films.

But first: fierce jealousy. Like any only child relegated to the role of older, now-oft-ignored sibling, Kun reacts to his sister’s entry into his life in a way that is anything but decorous. As Mirai makes increasing demands on their parents’ attention while remaining seemingly unmoved by Kun’s beloved bullet-train toys, Kun’s envy manifests in violence – as when he bonks his sister on the head with one of said toys out of sheer frustration. This moment is at once shocking and familiar; growing up, I can recall watching more than a few Saturday-morning cartoons centring on this