The result is exceptional, blockbuster serial storytelling from the animation studio MAPPA, which took over from Studio Wit. Alliances have radically shifted, and there are new characters who question the evolution of the heroes and villains we’ve followed since the show’s debut in 2013. Though it’s always been controversial for its violence and perceived ideological bent, Attack on Titan: The Final Season (which premiered in 2020 but aired most of its episodes so far in 2021) so far feels like an exciting and worthy conclusion to the series.

There hasn’t been a more chaotic anime produced in recent memory than Attack on Titan, a show about the conflict between a race of people that can transform into humanoid behemoths capable of inflicting massive destruction - and gobbling up lots of victims while they’re at it. Attack on Titan: The Final Season, Part One And while Kunuk’s tale shares A Country Doctor’s fascination with illness, death, and the afterlife, the film’s mythological underpinnings eschew Kafka’s existential alienation in favor of something more spiritually profound, albeit equally perturbing. The visual details are extraordinary - the bright light of sun on snow, the dim glow of a low fire in an igloo, the cold sweat on a sick man’s face, so realistic you can almost smell it through the screen - and the sound design is almost claustrophobic. In its tone and subject matter, the short is reminiscent of Japanese animator Koji Yamamura’s adaptation of Franz Kafka’s A Country Doctor, but in lieu of Yamamura’s exaggerated squash-and-stretch figures, the stop-motion here is subtly cinematic.

Photo: Kingulliit Productions and Taqqut ProductionsĬanadian Inuit director Zacharias Kunuk’s Inuktitut-language film, rooted in Inuit folklore, is a magnificently eerie stop-motion short with a simple story: A shaman and her apprentice make a house call to a sick man, then visit the underworld to learn why he won’t recover.

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