Film Name: 神秘世界历险记2 / Yugo&Lala 2 / Peculiar Kin2
It’s been a week since I watched this film, so what lingers in my mind now must be the parts that truly moved me.
The most memorable moment was undoubtedly the giant-faced monsters—specifically their first appearance, when their bodies unexpectedly shifted from green to red. Isn’t that precisely what we seek in animation: such unexpected displays of imagination?
As for the father-daughter conflict and reconciliation, Hugo’s entry into and departure from the secret world—these were inevitable developments. The story simply unfolds these inevitabilities step by step, so these main threads don’t leave the strongest impression on me. Perhaps it’s because I’m not yet a parent myself, unable to fully grasp the director’s perspective as a parent—that sense of entrusting one’s hopes onto a child through his work.
Hugo is a child without a mother. The so-called mysterious world is her sanctuary. Each journey into that realm is, in truth, a process of seeking refuge for her soul. The more wildly and enthusiastically she behaves in the mysterious world, the more it highlights her unfulfilled state in the real world, where she finds neither affirmation nor satisfaction. In truth, love surrounds her—she simply hasn’t recognized it. For in reality, she is loved by others, while in the mysterious world, she actively loves others.
In the previous adventure story, Hugo resolved the issue of her own disappearance—she was being assimilated by her mental refuge, addressing her sense of self-worth. This time, she confronts the moral decay threatening the entire sanctuary—the question of others’ value. She comes to understand the significance of Big Face to the mystical realm, the importance of Lala to the community, the bond between Sweet Potato and Rice Grain, and ultimately, her own meaning to her father and his to her. She evolves from being simply loved by her father to loving him with equal sincerity from her heart. Therefore, at the film’s conclusion, what she should say is not “Dad, I’m sorry,” but rather “Dad, I love you.”
The Mysterious World Adventure is essentially a process of creating diverse possibilities and meanings within a fixed framework—one with predetermined beginnings and endings (finding a reason to enter the mysterious world, then a way to exit it). The possibilities crafted by this “Yugo & Lala” story revolve around the Big-Face Monster, while the meaning it hopes audiences perceive centers on the value of familial bonds and true human love. The film develops Hugo and Mili’s quest and emotional arcs quite thoroughly, though a minor flaw lies in the underdeveloped portrayal of Lala’s quest and emotional journey.
Lala never resolves problems independently; by the end, she still hasn’t undergone the psychological transformation or “coming-of-age rite” necessary to truly embody the role of the Mysterious World’s chieftain. Particularly in the climactic water-saving sequence, Lala fails to emerge as the pivotal figure. Instead, Big Face makes the ultimate sacrifice. Lala doesn’t even take the initiative to rally the group—it’s Uncle Bear who extends his hand first. This lack of leadership undermines the credibility of Lala’s subsequent acceptance of the chieftain role.
Since we’re discussing this pivotal water-saving scene, I’d like to elaborate further. The film introduces a touch of philosophical contemplation here. Unlike the mundane ritual when Lala became chieftain, the ceremony where the tribe prays for the water’s return carries distinct religious overtones. This is because what they seek to achieve transcends human capability. Ultimately, nature itself resolves nature’s problems—as evidenced by the Big Face Monster’s dual identity as both indigenous guardian and water source. While human efforts may seem insignificant, they still play a role in inspiring change. These elements likely reflect the director’s worldview on the relationship between humanity and nature.
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