I thought Howl from Beyond the Fog (2019) was just going to be a basic kaiju flick, but instead, I got one of the most unique Japanese animated films I’ve ever seen.
This is far removed from typical anime—arguably, it’s not anime at all. What we have here is incredible stop-motion animation using puppets, green screens, and watercolors. It’s ornate, poetic, and breathtaking. In some ways, it reminds me more of Canadian animation from the NFB back in the ’50s and ’60s.
But Howl from Beyond the Fog actually comes from a specific Japanese live-action genre known as Tokusatsu. Tokusatsu is huge in Japan—one of its biggest and most popular film genres. It’s not as well-known in the West, but we recognize it through films like Godzilla and series like Ultraman. What makes Tokusatsu unique is its heavy reliance on practical special effects rather than CGI.
The film follows a blind girl who has a special connection with a mountain monster named Nebula. Her mother has died, and she is now under the care of her aunt, who keeps her hidden away from the world. Nebula is her only friend.
Meanwhile, a group of businessmen seeks to buy her family’s land and will do anything to get it. They’ve heard rumors of the monster and devise a plan to exploit it to seize the property. But, as with any good kaiju film, things don’t go according to plan.
The film itself is short—only 35 minutes—but after the feature concludes, we’re treated to a behind-the-scenes documentary showcasing how it was made. And as amazing as the film is, the making-of segment is just as fascinating. We see the creature being built, the environment being designed, and even the marketing process.
What takes it over the top for me is the fact that this was a Kickstarter project. No grants, no studio backing—just a pure labor of love. A big draw for Kickstarter backers was the monster’s designer, Keizo Murase, a legend in the field. He worked on films like Mothra, King Kong vs. Godzilla, and The Mighty Peking Man. Howl from Beyond the Fog was one of his final projects, and it shows his artistry at its peak.
This is art. The cherry blossoms, the movement, the way the creature emerges from the fog to interact with the blind girl—absolute magic.
Some people felt the film needed a bigger budget for more developed puppets, but I disagree. For example, the characters don’t have mouths, which actually enhances the experience. Without visible mouths, the expressions are inferred through the dialogue, making it even more immersive. I loved that approach.
If I have one criticism, it’s that the English localization wasn’t always great. Some translations felt off, but they were understandable. I’m just glad they didn’t opt for a dub—the original voice performances are essential to the film’s impact.
Sadly, this film hasn’t been widely seen. It didn’t even receive professional critical reviews, which is a shame. On IMDb, it holds a 6.5/10, and on Letterboxd, a 3.5/5. I completely agree with those ratings—this is a stellar work. It’s incredible to see how much can be achieved with practical effects alone.
You’d think Howl from Beyond the Fog was based on a traditional Japanese folktale, but surprisingly, it draws inspiration from The Beast from 20,000 Fathoms, a Ray Bradbury story that was adapted into an American creature feature predating Godzilla.
So in a way, this film reaches back to the very origins of kaiju, which—interestingly enough—have American roots, not just with The Beast from 20,000 Fathoms, but with King Kong as well. That’s just plain cool.
I highly recommend this film, especially if you want to experience Japanese animation that’s completely distinct from the typical anime style. It showcases what can be done with Tokusatsu when merged with stop-motion animation. There’s almost a Bunraku-like quality to it—traditional Japanese puppet theater brought to life in a visual feast.
You’ve gotta see this.
Stop motion puppet kaiju horror film. It’s worth checking out for the broad description alone
