After announcing his retirement from feature-length animation in 2020, Japanese director Masaaki Yuasa is returning to cinema with renewed purpose.
The visionary behind groundbreaking works like Mind Game, The Tatami Galaxy, Devilman Crybaby, and Ride Your Wave is set to direct Daisy’s Life, an adaptation of Banana Yoshimoto’s acclaimed 2019 novel.
The project will be co-produced by Asmik Ace, Aniplex, and CoMix Wave Films, with Yuasa heading production under his newly established animation studio, amepippin.
Yuasa’s announcement immediately ignited excitement across the anime industry and among global art circles. His decision to adapt Yoshimoto’s introspective narrative signifies both artistic evolution and personal renewal.
After years spent pushing animation’s boundaries through bold experimentation, Daisy’s Life appears to mark a calm, contemplative turning point, a return to sincerity and quiet emotion.
The director last worked on the historical musical short Inu-Oh in 2021 before momentarily stepping away from filmmaking.
Since then, Yuasa’s absence left many fans wondering whether his imaginative streak had reached a natural pause. Instead, his comeback proves that the creative spirit often returns stronger than before, guided by deeper reflection.
“This story’s quietness is what made me want to animate again,” Yuasa said in a recent interview, hinting at how Daisy’s Life rekindled his passion. His statement reflects not only artistic curiosity but also a profound personal shift, one that ties perfectly with the themes of grief and renewal central to Yoshimoto’s prose.
The Story of ‘Daisy’s Life’: Tenderness Amid Loss
Banana Yoshimoto’s Daisy’s Life centers on a young woman named Daisy, living in Tokyo and navigating the emotional aftermath of a family tragedy. As the seasons change, Daisy encounters strangers and memories that gradually help her reconcile grief and rediscover her sense of purpose.
The novel meditates on loneliness, resilience, and the transformative power of quiet human connection—an ideal match for Yuasa’s vivid yet emotionally intuitive storytelling style.
While Yuasa’s previous works often leaned toward surrealism or kinetic energy, as seen in the psychedelic chaos of Mind Game or the time-bending narratives of The Tatami Galaxy, Daisy’s Life promises stillness and lyrical beauty.
It’s not an abandonment of his signature artistry but a reimagining of it, channeling subtle emotional movement instead of visual hyperactivity.
Yoshimoto’s writing, internationally admired for its delicate treatment of mourning, memory, and healing, aligns perfectly with Yuasa’s long-standing interest in the fluidity of emotion. Her works, like Kitchen and Goodbye Tsugumi, have shaped generations of Japanese readers, focusing on women navigating heartbreak and change.
Under Yuasa’s direction, her words will merge with his art’s visual rhythm, offering a cinematic poem about rediscovering life after loss.
Early concept notes suggest that the film will balance minimalism and painterly expression. The animation style reportedly blends watercolor-like textures and gentle brush strokes, depicting Tokyo as a living canvas that reflects Daisy’s inner world.
This approach underscores Yuasa’s evolution as an artist; he continues to push the medium but with newfound restraint and maturity.
The Birth of Amepippin: Yuasa’s New Creative Ground
Beyond the film itself, Daisy’s Life carries symbolic weight through Yuasa’s founding of his new studio, amepippin.
The atelier, described as a collaborative space focused on intimate, auteur-driven projects, represents a departure from Science SARU, the studio he co-founded in 2013 and helped establish as one of Japan’s most progressive animation houses.
Science SARU continues to thrive under longtime partner Eunyoung Choi, producing major works like The Heike Story, Star Wars: Visions, and Scott Pilgrim Takes Off. Meanwhile, amepippin is envisioned as Yuasa’s personal creative laboratory, smaller in scale but rich in independence.
Rather than adhering to tight production schedules and high-stakes deadlines, the studio will prioritize artistic freedom and craftsmanship.
“Amepippin is where I can make things by hand again,” Yuasa shared in a recent discussion. “I want to return to storytelling that feels personal, something built from emotion as much as technique.”
Masaaki Yuasa (Credit: BBC)
This sentiment resonates deeply among artists who have watched Yuasa’s journey from experimental beginnings to mainstream acclaim. His return through such an intimate studio structure suggests a desire to focus on human emotion rather than spectacle, something increasingly rare in modern animation production.
Industry insiders describe amepippin as a workshop-like space, reminiscent of classical animation ateliers that emphasize slow, artisanal creation. The team behind Daisy’s Life includes several artists long associated with Yuasa’s earlier works, ensuring familiarity yet adaptability toward this quieter visual philosophy.
While no release date has been confirmed, production sources aim for a late 2026 festival debut, possibly at international showcases like Annecy or Venice. Anticipation continues to build, as Yuasa’s name alone guarantees global attention whenever he returns to the director’s chair.
The Master’s Evolving Vision
Masaaki Yuasa’s creative evolution mirrors modern Japanese animation’s own transformation. For years, his films have defied genre structure, mixing absurd comedy, emotional introspection, and philosophical undertones in refreshing combinations. His legacy includes redefining how animation conveys feeling, not just action.
In Devilman Crybaby, he captured primal emotion through chaos and tragedy. In Ride Your Wave, he turned romantic grief into visual poetry filled with fluid, oceanic imagery. And now, Daisy’s Life appears poised to bring that emotional language into subtler territory, replacing turbulence with tranquility.
Critics and fans alike interpret Yuasa’s return as a meditation on time. While younger animators experiment with hybrid CG and digital stylization, Yuasa is revisiting traditional hand-drawn craftsmanship to express quiet authenticity.
His art remains ambitious but now speaks through silence rather than explosion, an evolution that feels natural after decades of genre innovation.
Japanese animation itself has expanded globally, with audiences seeking emotionally complex stories beyond youth-oriented adventure.
This shift creates fertile ground for a director like Yuasa, whose works blend psychology with art. By adapting Banana Yoshimoto’s novel, he aligns perfectly with this audience’s growing appetite for reflective, character-driven storytelling.
Many expect Daisy’s Life to parallel Ride Your Wave in tone while deepening its introspective qualities. Reports from early production reveal a subdued palette of pinks, greens, and soft blues, a deliberate departure from the neon chaos of Devilman Crybaby.
Even early sketches evoke serenity, echoing themes of rebirth and reconnection that define both Yuasa and Yoshimoto’s creative worlds.
Why This Return Matters
Yuasa’s comeback is more than a continuation of his storied career; it’s a cultural moment for Japanese animation.
After a decade dominated by blockbuster franchises and studio giants, his reemergence through Amepippin reasserts the spirit of artistic independence. It reminds audiences why animation remains such a versatile medium for personal expression.
The excitement surrounding Daisy’s Life also reflects a hunger for sensitivity in storytelling—something that both Yuasa and Yoshimoto excel at. Their collaboration bridges literature and visual artistry, promising a cinematic experience shaped by empathy rather than spectacle.
Whether this project signals Yuasa’s permanent return to filmmaking or a one-time reflection, fans and critics are united in anticipation. The global conversation around him demonstrates how deeply his creativity continues to inspire both professional peers and audiences.
As production progresses, Daisy’s Life is positioned not just as a comeback but as an artistic renewal—a quiet masterpiece born from contemplation, emotion, and the enduring power of animated storytelling.
Through tragedy, healing, and transformation, both Daisy and Yuasa seem poised to remind the world that even after silence, creation blooms again.
Entertainment’s most creative family is once again stepping into new territory. Jaden and Willow Smith, known for transforming music, fashion, and performance art, are now turning their attention to anime.
The siblings are collaborating with N LITE, a Black-owned anime studio and production company operating between Tokyo and the United States, to both star in and executive produce two upcoming projects: Mfinda and Webe: Spirit Detective.
According to The Hollywood Reporter, these projects signify one of the most culturally significant collaborations in recent anime history. Both films are being shaped by a blended team of Black and Japanese producers, animators, and voice actors, a dynamic rarely seen at this scale.
The partnership aims to introduce stories rooted in African and African-American folklore while maintaining anime’s distinctive visual and narrative artistry.
Jaden and Willow’s participation goes beyond voice acting; they are actively shaping the creative and thematic framework of each film as executive producers.
Their goal is not only to tell compelling stories but also to expand representation within a medium that, for decades, has drawn inspiration from global cultures while remaining largely centered on Japanese perspectives.
“It’s about connection,” Willow said in an interview. “Anime has always inspired us, but now we want it to reflect the cultures that raised us, too.”
Jaden Smith Takes the Lead with Mfinda
Jaden Smith’s project, Mfinda, is already drawing major attention. Currently in pre-production, the film blends epic fantasy with Congolese mythology, focusing on the interconnection between humans, nature, and spiritual realms.
The production is backed by Viola Davis and Julius Tennon’s JuVee Productions, renowned anime producer Masao Maruyama, and the award-winning distributor GKIDS, best known for international hits like The Boy and the Heron and Wolf Children.
“Mfinda,” meaning “forest” in Kikongo, follows the story of Kozo, an ancient spirit warrior who protects both the natural world and humanity within the Kingdom of the Kongo.
Jaden will voice Kozo, lending his distinctive tone to a character that symbolizes strength, empathy, and guardianship. The film promises stunning visuals and deep cultural symbolism, portraying African spiritual traditions and ecological balance in a way rarely seen in animation.
“When I met Christiano Terry and saw the first pieces of art from Mfinda, I was completely blown away,” Jaden said, referring to N LITE’s founder and CEO. “I’ve always been drawn to stories that merge philosophy with beauty, and Mfinda is exactly that. It’s the kind of anime I always dreamed of being part of.”
For Jaden, who has long expressed admiration for anime aesthetics in his fashion and music, this project feels like a creative homecoming. His previous ventures, ranging from environmental activism to music infused with cosmic philosophy, have always carried a spiritual undertone, making Kozo a fitting role.
The collaboration also underscores his growing interest in production and storytelling beyond traditional Hollywood boundaries.
With industry veterans like Maruyama involved, Mfinda is positioned to bridge generations of animation craft. Maruyama’s presence lends credibility to the project’s artistic ambition, while N LITE’s cultural mission ensures authentic representation from the ground up.
Together, the blend of influence, heritage, and fresh perspective may introduce an entirely new type of anime experience.
Willow Smith’s Webe: Spirit Detective and the Power of Heritage
While Jaden immerses himself in African fantasy, Willow is venturing into darker supernatural territory. Her upcoming film, Webe: Spirit Detective, draws inspiration from Gullah Geechee folklore, making it a rare anime rooted in African American spiritual traditions.
Jaden and Willow Smith (Credit: NBC)
Serving as both producer and voice actor, Willow will guide the haunting narrative through a unique blend of mysticism and Southern Gothic suspense.
The story follows a young amateur sleuth investigating a series of mysterious murders in the Deep South, all tied to a vengeful entity known as the Boo Hag, a spirit figure central to Gullah folklore. By blending detective mystery with spiritual mythology, the project reimagines horror through the lens of ancestral connection rather than pure fear.
“To me, Webe is about remembering where you come from,” Willow shared. “It’s a story of discovery, of lineage, of being haunted not by fear but by your own power.”
Her passion for introspective, boundary-pushing projects is evident. Whether in music or philosophy, Willow has built a career centered around self-exploration and artistic freedom. With Webe, she brings these themes to a new medium, infusing the narrative with emotional vulnerability and cultural pride.
Production insiders describe Webe as visually “dynamic yet haunting,” featuring traditional anime artistry blended with motifs of the American South, moss-filled bayous, crumbling chapels, and glowing spiritual symbols. It promises atmosphere with purpose, pairing the supernatural with identity and resilience.
N LITE and the Future of Black Anime
Founded by Christiano Terry, N LITE has emerged as a bold voice at the intersection of cultural storytelling and animation. The studio’s mission is to create stories that amplify underrepresented voices while embracing anime’s universal language of artistry and imagination.
In partnering with Jaden and Willow Smith, Terry sees more than celebrity collaboration; he recognizes a movement that connects global creative communities.
“They are pillars of this generation,” he said. “They influence fashion, music, art, and storytelling in ways that transcend genres. We couldn’t think of better partners to help show how anime can belong to everyone.”
N LITE’s co-production model spans both Japan and the United States, with teams working collaboratively on world-building, character design, and animation direction. This dual structure allows for a genuine cultural exchange, ensuring the authenticity of both tradition and innovation.
The studio’s partnership with legendary anime producer Masao Maruyama strengthens that goal. With decades of experience and credits including Perfect Blue and Millennium Actress, Maruyama’s guidance ensures that Mfinda and Webe honor anime’s technical standards while breaking new cultural ground.
Moreover, the involvement of JuVee Productions and GKIDS highlights how these projects have already drawn mainstream attention beyond anime circles.
For Hollywood and the global animation market, N LITE’s initiative could mark the beginning of a new era, one where diverse mythologies influence the stories shared on an international stage.
A Cultural Milestone in Motion
Both projects represent a pivotal moment for representation in animation. For years, anime has attracted fans from every corner of the globe, particularly within Black communities.
Yet, few productions have fully reflected those connections in their characters or creative teams. Through Mfinda and Webe: Spirit Detective, the Smith siblings and N LITE are shifting that paradigm.
Jaden and Willow’s involvement reinforces their broader reputation as innovators unafraid to challenge artistic conventions.
From Jaden’s environmental ventures to Willow’s avant-garde music, their choices consistently emphasize consciousness and creative diversity. Their foray into anime continues this trajectory, combining artistic risk with cultural impact.
Fans can expect both Mfinda and Webe to reach early festival audiences between 2026 and 2027. Early concept visuals released by NLITE hint at breathtaking color palettes, dynamic character animation, and emotionally rich storytelling.
As N LITE’s projects progress toward global release, they symbolize how animation continues to evolve beyond national origin. Through myth, memory, and innovation, Mfinda and Webe prove that anime has no boundaries; it is a language of art shared by every visionary willing to imagine.
