Lonely Castle in the Mirror is an anime film that hit Japanese theaters back in December and is just now about to have its theatrical debut in the US. Its fantastical title cloaks the real-world issues that play heavily into the film and offers a touching tale of those who don't fit in coming together to each other.

Lonely Castle in the Mirror is based on a 2017 book of the same name by Mizuki Tsujimora, which saw an English-language release in 2021. The film is directed by Keiichi Hara (Colorful, Miss Hokusai), and was produced by A-1 Pictures. The film opens for special screenings from June 21 to June 22, 2023, so Screen Rant sat down with the director of the film, Keiichi Hara, to learn how he felt about the film, why he chose this book to adapt, and more.

Director Keiichi Hara on Lonely Castle in the Mirror

Screen Rant: What made you want to adapt this particular book for your next film?

Keiichi Hara: I think that kids today have a lot of issues to deal with in the world, and by using fantasy I was hoping to redirect that negativity to a better place. So yeah, recognizing that there is the negativity and the issues that exist in the world, and then bringing it to a positive place. I think that was something that book was also trying to achieve, and I really resonated with what the book was trying to do. I think the original book is especially good, because it does address a story of a family who's lost a family member as well.

Screen Rant: What kind of things do you hope that your younger viewers of this film, those who are about the age of the characters, would take away from this? With regard to these heavy topics like bullying and depression, that is.

Keiichi Hara: So, there are a lot of kids that find that they don't have a place at school or at home, and they don't want to talk about it. They especially don't want to talk about how they got there. And I feel like kids don't want to talk about that, because you're verbalizing and recognizing that you are weak. A lot of children feel like they don't want to be seen that way. So, I hope that through my film that kids will be more encouraged to talk [about that], and to be able to say, "hey, let's talk." When adults say it directly to a kid, it sometimes just doesn't land. But I'm hoping that after watching the entirety of the film and the journey that the children take, that kids can start thinking, "hey, I can depend on adults too, and that it is a good thing to talk."

Screen Rant: Yeah, that was one thing that I definitely appreciated about the film as I was watching it. Kokoro's mother takes her concerns very seriously, and that's that's not something that every child in that kind of situation can rely on. So, did you feel it was important to include a ive parental figure in the film like that? And if so, why did you feel that was important?

Keiichi Hara: Yeah, so when it comes to Kokoro and Kokoro's mother, that relationship. Just take a step back when it comes to children today who don't want to go to school or refuse to go to school, there oftentimes ends up being this tug of war between the child and the parent. You know, the parent asks, "Why aren't you going to school?" and the kid doesn't want to answer, causing the parents to get frustrated. I think that relationship is very common. And so in the film, Kokoro speaks up, and then her mother is on Team Kokoro, you know, she's fully there to her. And so within the film, the whole episode with Kokoro's mother, you know, that's included in the original book, so that was not a choice made by the director. Kokoro's mother kind of comes around to Team Kokoro pretty fast, but in reality, it might not be that easy. So, it's just to show that turnaround within the film. I just wanted to show that something might change, and hoping that by Kokoro speaking up first, that communication gap would be bridged. Does that answer the question about Kokoro?

Screen Rant: Yes, I would say that.

Keiichi Hara: So, just a director's note, actually, about Kokoro and her mother. There's a part in the film where Kokoro decides to go to school one day, and that whole plan about all the kids meeting up. So during that part, Kokoro's mom is very worried. And so she goes to the front door as Kokoro was trying to leave, and mom says, you know, "do you want me to go with you?" And she's like, "no, I'll go alone." And so, at the end of the day, for whatever reason, Kokoro doesn't see the kids--no spoilers. So, when Kokoro goes from her first year of middle school to the second year of middle school, she goes to school, and this is just a little specific directorial note that was made, but mom isn't worried then at all. In that part, she just said, "oh, what do you want for dinner?" Like maybe this, and she says, you know, "have a good day" to her daughter, and off she goes. And that's the day that mom wanted, just a normal day where she's not worried. And so in that way, I kind of tried to make mom a little bit more layered, and have a bit more presence in that way.

Screen Rant: I think that worked out very well. So as I was researching this, I saw that this book had also been adapted as a manga. I was curious if the manga adaptation had much influence here, or if it was primarily the original book which you worked from?

Keiichi Hara: So yeah, there's no effect by the manga on the animation. They are completely separate.

Screen Rant: Ah. Something else I was curious about is if there were any particular scenes that you are proud of? Scenes that stood out to you as being emblematic of what you wanted this film to be.

Keiichi Hara: So as a director, I really found that whole part where Kokoro helps Aki in the room of wishes--when she's inside with a lot of mirrors, and she's running through all them. I felt that that scene was especially important visually, and especially in the story, and I paid special attention to it as director. Toshiyuki Inoue was the animator on this. The music is by Harumi Fuuki, [it] has a great like just eight beat music, and it's very uplifting. I really think that scene visually and musically and audio-wise really just comes together. And that's definitely one of my favorite scenes as a director.

Screen Rant: Ah yes, I agree that scene was very visually striking. It was very cool to watch. I also noticed while I was reading up on this a little bit that it seems like this film has some themes in common with some previous films that you've done. In particular, I was thinking about Colorful. Is there any particular reason that you were drawn to works with these kinds of themes? You know, the depression and anxiety, and those sorts of issues.

Keiichi Hara: Yes, so you know, as far as those themes, and having it pop up in Colorful, those things are not something I'm looking for. It is, I'd say it's almost coincidence. You know, in my past, I don't know if you were aware, I had Crayon Shin-Chan, which I think was back in the 80s or 90s, if you're familiar with that. You know, and honestly, yeah, and just those gags, the easy gags, you know, I would love to revisit that again. Do that again. So yeah, not stuck on a particular theme or anything. But the thing is, they won't let me do another rendition of Crayon Shin-Chan, so I have to see about that.

About Lonely Castle in the Mirror

Lonely Castle in the Mirror is an anime film that was first released in Japan in December 2022. The film follows Kokoro, a young girl who is afraid to attend school after a bullying incident. As she stays home, her mirror activates as a magic portal, taking her to a distant castle along with six other kids of roughly the same age. There, they are presented with a challenge: they have one year to locate the hidden key and access an unenterable room. Whoever does so will be granted any wish they can dream of, but at the cost of everyone losing all their memories about the castle and their time there. Will they keep their treasured memories, or go for a wish that could change their lives?

Fans can watch Lonely Castle in the Mirror in select theaters on June 21 and 22, 2023.