Gyokou no Nikuko-chan 1n6k70

**TL;DR AT THE END.** i am genuinely sorry that this review is so long. i will be discussing the fat elements of this movie a lot, since it's a perspective i understand intimately.


a quick summary of this movie: it's a sweet slice of life centered on the protagonist, 12 year old Kikuko. the movie is split into three arcs which cover three seasons. in the summer, Kikuko gets into her first Petty Middle School Drama at school when her only friend forces her to make a tough social decision. in the fall, Kikuko begins a friendship with a quiet, strange boy that goes to ... her school. in the winter, Kikuko falls ill. Through all of this, Kikuko lives her daily life on a houseboat with her fat and joyful single mother, Nikuko.

as a fat woman, i was really excited when the trailer for this movie came out, because i thought that it might take a look at the relationship dynamic between a daughter and a fat mother. media that looks upon fat people favorably is rare in general, and in the anime/manga scene it's practically nonexistant. that being the case, i knew that the representation wasn't going to be perfect. but i still had high hopes- a mother-daughter relationship provides an absolutely perfect environment to explore fatness, how fatphobia changes women's lives, and how living as a fat woman impacts your familial relationships. i was, unfortunately, very disappointed by what the movie had to offer on this front.

i was surprised at the backseat role that Nikuko plays in this movie, given the film is named after her. especially in the first two arcs, Nikuko is largely (hah) absent for most important scenes, and serves more as the backdrop of Kikuko's life. despite this movie's trailer framing the movie as a mother-daughter movie, Kikuko hardly has any meaningful interactions with Nikuko until the last arc of the movie. more on that in a bit.

let's talk about Nikuko's fatness for a second. Nikuko is drawn in a way that's really cute, and her life is joyous, and she's not ashamed of herself. that in itself is nice, it's nice to see fat characters existing and being happy without any "i'm sad because i'm fat" plotlines. Nikuko does have a very strong history of being manipulated by unscrupulous men, which i side-eyed a bit, as "fat woman is easy because she's insecure, gets totally played by asshole guy" is a plotline that irks me to no end. thankfully, the writers didn't take it all the way there, never revealing why it is she's so prone to manipulation. not so thankfully, this is because Nikuko never gets any meaningful character development or character exploration throughout the entire film. even more unfortunately, although the writers made the wise decision to not make Nikuko into a woobie and play into Fat Angst, it feels like it leans too much into the opposite direction. Nikuko's entire character can't be taken seriously at all. Even when serious things are happening to her daughter, Nikuko can't be serious about it, because then she wouldn't be the Funny Jolly Fat Lady anymore. no matter how hard you squint, Nikuko is hardly anything but a clown, even during her own slightly depressing backstory. she's there to make you smile and laugh by being fat.

i think it's possible to make a fat character funny WITHOUT making their fatness the butt of all their jokes, but the writers chose not to dig into that, presumably because it's not as easy as just saying "look, she eats a whole French toast in one bite, isn't that soooo funny?!"

so, the fat representation in this movie is kind of a miss. what about the wholesome mother-daughter relationship? well, that ends up being a bit of a miss too. through the whole thing, there's this awkward distance between the two, where neither seems to want to make the effort to become closer with each other, simply settling for daily life and surface-level conversations. Nikuko doesn't act very motherly, aside from providing Kikuko's basic needs, instead playing a role resembling a big sister or best friend. in fact, there are many scenes where it feels like Kikuko plays the role of mother, while Nikuko acts like a child, and the detrimental nature of this dynamic is never even casually mentioned, only being touched with a ten-foot pole once (when Kikuko says "who's the child here?!" as a throwaway joke). this was very frustrating at times, because it felt like there was a huge elephant in the room being ignored: that Nikuko kind of sucks as a mother and Kikuko is struggling in silence because their bond isn't deep enough for her to seek out Nikuko's guidance.

even when there are emotionally potent moments in the movie, they hardly ever involve Nikuko. this is an incredibly sad missed opportunity to me. Kikuko has emotional struggles that would be perfect as a pathway to introducing Nikuko's more motherly side, but instead of getting Nikuko involved in her personal life at all, Kikuko solves most of her problems on her own. the only time Kikuko has a meaningful conversation with her mom is at the very end of the movie, and even then it doesn't get any deeper than an "i love you." the sports festival scene is far and away THE shining moment for both of their characters as we get to see a glimpse of what the movie could be like if it actually cared about their family dynamic.

ALL THAT BEING SAID, this movie is still really nice! wholesome to the core, it emulates Ghibli in a way that doesn't feel contrived. gorgeous and lovingly-crafted scenery, beautiful character animation, good pacing (seriously, this movie and My Neighbors the Yamadas are the only slice of life movies that haven't bored me to tears), funny jokes (when they're not about Nikuko being fat), and a good balance between emotional ups and downs that never feels jarring. the emotional flow of the story is smooth like a wave, good at tempering sad moments with twinges of happiness.

i think i just wanted more from this movie than the writers were willing to give, which is fine. just because it isn't what i wanted it to be doesn't mean it's a bad movie.

that's my take on it, anyways.

anyone looking for something about fat people that actually explores the emotional nuances of being fat should read Pochamani. anyone looking for a cute family-centric slice of life should watch My Neighbors the Yamadas. anyone looking for gorgeous oceanside small town scenery should watch Ponyo. anyone looking for a powerful coming of age story should watch Anohana. if you've exhausted those other options, come watch this movie, it's cute.

6/10.

tl;dr: the movie is cute, gentle, and wholesome, but ultimately fails to deliver a strong mother-daughter bond AND positive representation for fat people. if you're not looking for either of those things, this is a pretty good movie. if anything, it's worth watching for its great scenery and fun character animation.

This was a very beautiful movie. The art was beautiful, the story was beautiful, and even the theme was beautiful.

The art was almost comparable to that of ghibli, except more expressive. It wasn't just a plus, it actually helped to set the entire tone of the movie and even just scenes on their own. The laughing and the crying of the mother made it clear that this was going to be a heartwarming movie, but the nearly continuous expression of the daughter (or others around her) gave the tone more nuanced.

The story was one where I feel many people could find a part they relate ... to. There are many characters all with different experiences which allow you to attach yourself to any of them, while still feeling like you can at least understand the main character.

The lesson is unsurprisingly about love and acceptance not just towards family, but also towards yourself. This tends to be a repetitive narrative throughout the industry, however, this was such a personal take that it almost felt new. I want to make it clear that this was my personal opinion on what the theme was. This movie felt like an art piece hanging on a gallery where you could almost interpret any theme you needed from it.

It was very moving, as by the end I felt as though I had been there experiencing the story alongside the characters. In fact, I found myself wishing there was more. This isn't because it didn't end well, or because it didn't feel correct. It was just such a journey that I wish it went on forever.

>Gyokou no Nikuko-chan 2021 artwork

The moment I discover that this film is crafted by Studio 4°C, No need to hesitate to try it.

Gyokou no Nikuko-chan – A Heartwarming Ode to Life's Simple Joys.

At first glance, the film’s charm seems to lie in its quaint and lively depiction of Nikuko’s ship and their cozy house—a setting that feels like an embrace, warm and inviting. The animation’s vibrant, cartoonish aesthetic ensures accessibility for PG-13 audiences while softening the harsher edges of reality, creating a world that is both relatable and idealized.

Gyokou no Nikuko-chan is a tender and deeply human story—a celebration of life, love, and the enduring ... bond between a mother and her daughter. It offers a slice-of-life narrative imbued with humor, warmth, and an almost tangible sense of nostalgia.

A Melancholy Beginning, Wrapped in Warmth,
The film wastes no time establishing its emotional. In the first five minutes, Nikuko’s backstory unfolds—a series of heartbreaks delivered with quiet poignancy. It feels raw yet approachable, tempered by the film’s lighthearted tone. Quoting my lecturer, “Pitying others has its limits,” this sentiment echoes the film’s exploration of comion and resilience. It reminds us that kindness, while beautiful, is not without boundaries.

The film introduces us to Nikuko, a boisterous and resilient single mother, and her daughter, Kikuko, who navigates the quiet intricacy of adolescence. Their life in a quaint seaside town is one of simplicity, yet their relationship is anything but mundane. Nikuko’s larger-than-life personality and Kikuko’s quiet introspection create a beautiful contrast that drives the narrative forward.

The narrative also explores themes of resilience and comion. Nikuko’s story is one of perseverance, a reminder that joy can be found even in the face of hardship. Her unwavering love for Kikuko is the emotional anchor of the film, providing moments of both humor and poignancy.

"A Feast for the Senses"
Food plays a central role in Gyokou no Nikuko-chan, serving as both a metaphor and a bridge between characters. The culinary visuals are nothing short of exquisite, evoking the warmth and intimacy of shared meals. It’s not just about the food itself, but what it represents—community, care, and connection.

'A Whimsical, Emotional Journey'
The film’s charm lies in its ability to balance lighthearted humor with heartfelt moments. Nikuko’s over-the-top antics are delightfully comedic, yet they never overshadow the story’s emotional depth. The narrative is peppered with whimsical elements, giving it a storybook-like quality that feels both nostalgic and timeless.

Verdict :
Gyokou no Nikuko-chan is a heartfelt and visually stunning film that reminds us to cherish the small moments and embrace the quirks that make us unique. It’s a love letter to familial bonds, the resilience of the human spirit, and the beauty of finding joy in the ordinary.

For those who appreciate the quiet magic of films like Omoide Poroporo (Only Yesterday) or Mai Mai Miracle, this is a must-watch. It’s a gentle yet profound journey that leaves you with a smile on your face and warmth in your heart.

~A film that, for some, might evoke a profound sense of comfort.
Thankya for reading.

*Fortune Favours Lady Nikuko* is hyper-focused on 12-year-old Kikuko and how she views the world. When alone, Kikuko imagines external things making brief remarks. A lizard would say in a devious man's voice her darker thoughts. A shrine Torii gate would speak to her like a er-by salesman, and a cicada would lament that he lived underground for 7 years only to die above within days. My favourite is a penguin that cries, "Death to all!"

In portraying her experience of the world and how it changes over time, the film doesn't tell one continuous plot, opting to tell several that kickstart her coming-of-age. A small ... crush on a boy whose eccentricity she feels an affinity to. A brief drama with her friends that only a child her age would find so devastating. A tween-like fear of being embarrassed over her mother in front of her peers. These low-stakes, lifelike events don't exist to tell a definite moral conclusion, but to transform her slowly as she develops deeper, more meaningful relationships with others.

The relation between Kikuko and the Other is of both stylistic and thematic import in the film. In many shots the camera will linger on the thing she's looking at, from her POV or over her shoulder, and then switch to a close-up of her face, centering on the light in her eyes. Her gaze and the subject she's beholding make a powerful dyad that many of the film's intimate scenes revolve around.

This phenomenological presentation of Kikuko's world extends to other aspects of the movie. The background art is grounded in reality, but everything is a little more colourful than it would be in real life: the restaurant tables are more vividly red, the trees more verdant. Her daydreams are intruded by bizarre imagery of foods in the shape of her mom. Indeed, she speaks many words and spends many ruminations about her mom.

Kikuko’s mother is the real star of the film. Miss Nikuko is a woman who lives life in fullness, both in her stomach and in joy. She'll bring giant rice balls to lunch and down a whole toast in one gulp. She's overjoyed by aquariums like a child. In a yakiniku she'll always have the loudest laugh and tell the worst puns. In sleep she'll snore like the roof will fall in. She's had her heart broken by a dozen men, but that'll not stop her going at it a 13th time.

Kikuko, meanwhile, is far more reserved, more concerned with not standing out and hoping her friends wouldn’t see her mom’s boisterous, strange, and unashamed disposition. The movie spends loving moments animating her large gestures, her body bouncing around and unafraid to stretch and contract out-of-model to express her emotions as fully as she experiences them. These close moments between Kikuko and Nikuko are depicted in their tiny seaside town between all the minutiae of rural life, or in their warm cosy boat home, with worn-out appliances and checker-patterned blinders and all the kinds of little decorations and clutter one would pick up over decades. Yet as much as Kikuko loves her mom, she also disapproves of her, not only being embarrassed at her peers seeing Nikuko’s antics but also being bitterly cynical about her taste in men.

It takes Kikuko a while to see how wrong she is. The reason that Nikuko constantly gets her heart broken, and isn’t ashamed of telling bad jokes nor of being so gleeful, is not that she is unaware or naïve. The true reason is the stuff that comprises the fabric of the film, what all her boundless laughter and life-to-the-hilt point to: that all the hardship and heartbreak of the myriad adventures in life will never stop her from going at it again. So Nikuko is, and so Kikuko comes to appreciate, to be boisterous and strange and unashamed in all your enterprise, and leave the rest to fortune.

I might be biased here with my review, but I absolutely loved it.
I resonated a lot with the character and her upbringing so a lot of the times I was just agreeing, or saying thigs like "been there" "Yeah I know how it feels". Especially the aspect of being raised by a single mom getting scammed by those she chose to love and struggling all her life under low income, and even then loving unconditionally her child. It brought back memories that are fonder to me than people think.
The animation is absolutely stunning and the characters are funny, compelling, and relatable. I do recommend this ... for those who enjoy slice of life and drama anime.

MMM SO GOOD! Is what I thought when looking at the trailer for this movie. Not only did the food entice me, but I also found the visuals and vagueness of the plot quite engrossing. For my first time watching an anime film in a local theater, I must say, I was thoroughly delighted with my experience. If you have family that you feel make it their mission to embarrass you and are looking for a film that empathizes with you, look no further than Fortune Favors Lady Nukiko. So, is this film all that I’m talking it up to be, or were my ... opinions swayed due to the unique circumstances surrounding my viewing experience?

This film follows the everyday life and tribulations of a girl named Kikuko and her mom Nukiko. Who is larger than life in more ways than one and is the antithesis to her daughter, excluding their kind natured personalities. Throughout her life, Nukiko has been taken advantage of and bullied for her silly, kind-hearted, and often dumb-founded nature by many men. Often extorting money from her, before getting out of dodge. Throughout her many expeditions, Nukiko and her daughter finally settle down in a small fishing town/district where Nukiko runs a restaurant. Standing out more than ever before.

As mentioned earlier, upon seeing the trailer for this film, the vagueness of the story was piquing my interest. So coming into it I figured the central plot/conflict would be revealed. I mean, the run time was two-hours so there had to be something in of a plot right? I was wrong, but was pleasantly surprised by that as well. After the film finished, I came to my senses and realized that I had just watched an Iyashikei-sol film in theaters. Now I’ve seen my fair share of Iyashikei shows and films up to this point, Natsume and NNB reign as some of my favorites in the genre, but I went into those knowing full well what to expect. But when I discovered the film is composed of several small stories, shown with beautiful and calming scenery and visuals with no real central conflict other than Yukiko’s mom being a goofball, I was surprised but delighted.

And in case you didn’t know, an Iyashikei is a genre of anime/film that evokes a sense of healing in the viewer. The anime is calming, has a relaxed atmosphere most of the time, and usually has little to no score aside from flowing river banks, smooth ghasts of wind, and summer time cicadas humming along to a sun addled field of green grass. They are also usually episodic with conflicts that vary from episode to episode in of severity. Or in a film’s case, chapter by chapter. This is the case with this film, where even the more intense scenes or moments still take a more liberal approach to how they’re displayed.

For example, there’s a scene where we see a woman working the streets before working at a strip/dance club. We’re shown this through a heavy blurred filter where the casino-strip’s street light’s luminescence is exacerbated so much that the scene feels dream-like and not as intimidating as it must’ve felt for Yukiko’s mom. This scene is followed by a strip/pole dance montage where we see neon silhouettes of two women, one of which we’re familiar with doing their moves. Something about the imagery of this flashback sequence stuck with me. Maybe it was the fact that it put their line of work through a different lens than what I’m used to. In various media, I’m used to seeing dance/strip clubs in a somewhat vilified manner, or at the very least, portrayed in a less than stellar light. The way this scene portrayed that environment and form of expression was done very tastefully, with beaming colorful visuals to boot.

Another example of an intense scenario presented in a calm, tasteful, and respectful manner is when Nikuko is describing the circumstances surrounding the events of one of her late husbands. Nikuko and co. are presented as shadows traversing a canvas that visually reminiscent of hieroglyphics. In this scene, we’re shown a man on a patio smoking. His figure looking down on his luck, slouching over, chin resting on hand. Moments later Nikuko describes that the man left a letter saying he was going to go kill himself at his home town. She describes her venture to find and save the man, but to no avail. While a depressing scenario indeed, it is very brief and shown through a lens that shows that though Nikuko loved him, and out of her partners he was the one who treated her the most respectfully, we’re not given enough information to feel a strong emotional attachment to him. I felt that was intentional and the emotions I felt watching that scene were meant to reflect that of Nikuko’s and her daughter’s towards him.

I’m not going to describe the beauty of each and every scene, because at that point I’d be spoilering the entire film and I don’t want to do that. But just know that whether the scene is of a penguin at a zoo who’s filled with visceral hatred towards the human race, a young boy making silly faces, or a talking amphibian, just know that it’s done with great attention to detail and has a calming aura to it. To round out the things I love about it so much, I’ll close off my praises by giving credit to the voice acting, Nukiko’s seiyuu (Shinobu Otake) in particular. What a performance, giving Nukiko such a boisterous and voracious voice. Only adding credence to how much space her personality in a room takes up. I found her panicking in the sports day event to highlight this performance the most as she’s constantly switching from forgiving others for her clumsy nature, to panicking not knowing where to find an item, all while retaining a lovable mom-like quality that doesn’t become annoying.

Speaking of actions that become annoying, was there anything in this film that I felt fit that criteria? Yes, I have two gripes with this film and they intertwine with each other. I felt that there were relationships between and plot points weren’t explored to their fullest potential. Whether that be with her friends, or (spoiler) her real mom. Because the way this movie is set up is like your average Iyashikei show. Episodic and not necessary to watch sequentially until the last few episodes. This movie is the same way, and I wish that we saw more of her interactions with her friends instead of just being one and done after their conflict is resolved.

This issue only gets worse as we reach the final act which I’ll spare you the details on. But let it be known that the ending is just too abrupt. It didn’t ruin the film or lessen the impact it had on me. But it did make me audibly go,”What? That was it, are you serious?” It’s been awhile since a show or film left me so dumb-founded. The most confusing part was checking my phone and seeing that there were 15 - 20 minutes left in its runtime, and this is even proceeding the after-credits scene. It’s because there was a series of shorts called,”Deiji Meets Girl” playing right after it. I didn’t know this until the preview played right before the film, and even then I didn’t think it’d share the run time of, “Fortune Favor’s lady Nukiko”.

This film caught my eye due to its unique and captivating visuals, as well as its ability to make me crave food that’s not even in my dimension. Having a family that I feel at times go out of their way to embarrass me at times made me relate to the main character, only furthering my intrigue. Did this film manage to be all that I hoped it to be? Yes and no. But that’s because it exceeded my expectations by going full Iyashikei when I wasn’t expecting it, for the better might I add. Though this hindered it at times, namely in the ending which left my mouth ajar and my head squandering to make sense of what I just witnessed. Had this been a show, I’d be eagerly waiting for a second season we’d never get. But as a movie, I eagerly await a sequel that I know we’ll never get. If the novel furthers the plot more than the film, then I’d pick that up.

In a backwater seaside town where everyone knows everyone, there lives Lady Nikuko and her daughter (Kikuko), who looks nothing like her mother. Gyokou no Nikuko-chan takes clear inspiration from the Western premises of an impulsive middle-aged woman being swayed by romantic attention, yet her carefree and kind demeanor makes all the difference, particularly for Kikuko. It plays out like an ecological fable; the relationships of people versus open-minded acceptance. Nikuko is a large woman with imperfections that stick out like a sore thumb, but her eccentric nature doesn't detract from the positive mother-daughter relationship on display. The film is inherently lighthearted, loosely escalating to ... coming-of-age realizations. Nothing especially substantial occurs until the closing act, and viewing it outside of fictional dimensions, the gentle messages are primarily directed at the viewer. Needless to say, a narrative isn't required to develop, but basking in the ordinariness of daily life greatly benefits from dynamic components. It's a matter of whether the weight-related punchlines, which are occasionally amusing, are enough to compensate for what it lacks in compelling characters.

Watanabe's drama about an oft-dysfunctional family removes conventional domestic roles from its thematic repertoire, dividing responsibilities equally. It's mood-centric; adolescent discovery of various emotions that may not be explicitly stated. The humor dabbles in anthropomorphic realism, as we'll see animals ing by after blurting out silly phrases. Additionally, Kimura's watercolor backgrounds are appealing and the film is obsessed with food for obvious reasons. The key animation is generally solid, and aside from similar designs to Kaijuu no Kodomo, both are analogous in shot selection. Gyokou no Nikuko-chan avoids merging into a linear flow of momentum, incorporating sudden flashbacks as it sees fit. The reflective disposition of the undercharacterized cast touches upon easygoing melodrama, yet the absence of a more convincing conflict prevents fully advancing its storytelling prowess. Tonally pleasant as it bridges the gap toward idealized adulthood.

From the cover image and sample At first I thought It is a story that simply focuses on the story being told through the relationship between mother and child. But in fact, many issues It's also very interesting.

The flow of the story is very small. especially if compared to the work JAMNIMEFestival2022 That counts only the original story, probably because of a simple synopsis And the studio that does it is Studio 4°C, which doesn't have much role in the anime industry in a good way.

Kikuko is a young schoolgirl whose only mother, Nikuko, takes care of her. which this mother He's a very optimistic ... person. Despite her past life being difficult and destiny, Fortune Favors are often told through Kikuko's point of view. rarely rely on anyone By the point of asking the audience and Kikuko that if our lives are like this Nikuko mother, then what did we do wrong in the last life? Which in the beginning will tell without much complexity, easy enough to guess. secretly a little late But that drowned out the weird directing problem. That caused some headaches to Nikuko-chan's mother. Likewise, it was sometimes funny about her childlike personality. Until the middle of the story that started to get better and better Emphasis on melodrama There's hardly any bad pacing at the end of the story. The composition of the mystery, the warmth, the love, the tenderness, the comedy, everything fits perfectly.

The work of the picture will look faded. and the backdrop that sometimes doesn't have much Most of them focus on moving gestures, which are soft, fluffy, cute, and highly detailed.

I like the song "Taketen (たけてん)" by GReeeeN and in the original 5 stories of JAMNIMEFestival. I give this ost the best, the fact that the music in the background matches the rhythm and the atmosphere at that time. And that can't be missed is the voice of Nikuko's mother by Ootake, Shinobu, a famous voice actor who has performed very well in this story. During this time, I also had the opportunity to voice Grandma Kiwa from The House of the Lost on the Cape (Misaki no).

The characters in the story are considered not too much, not too little. But some roles feel a little too small. and not very memorable It mainly focuses on the Kikuko character who expresses their thoughts. or murmuring in the heart

The tone of the story focuses on tenderness. small controversy of friendship in school, lollipops and the perfect drama provide valuable lessons Don't be afraid to ask others for help. Don't think too much about how other people will see us. and our lives have failed There are already serious obstacles.

All in all, Fortune Favors Lady Nikuko is one of my favorite Studio 4°C stories, and well known director Watanabe, Ayumu. Therefore, the romance story does not have to worry at all. Recommended to watch for anyone who wants to see valuable family relationships.

It's 9/10 on the wholesome media scale.(Unbiased)
It's 4.5/10 against all genre's and forms of media. (Biased)
( had 30minutes to spare so I watched it in 4x and I got a 4.5/10 experience out of my time. )

The art is great and there were some trippy scenes here and there but I won't recommend it to anyone unless you really MUST watch something wholesome.
( I watched till the end because the fat lady reminded me of my mom ).

Overall the characters are very bland but I really liked the fat lady's story I can see it being relatable to anyone who face atleast some kind ... of hardship in life.