Name: Goodbye, Eri
Rating: 4.296875 (32 reviews)

Tatsuki Fujimoto

Goodbye, Eri

From the mad genius behind Chainsaw Man and Look Back comes a new story about coping with loss. Yuta’s moviemaking career started with a request from his mother to record her final moments. After her death, Yuta meets a mysterious girl named Eri, who takes his life in new directions. The two begin creating a movie together, but Eri is harboring an explosive secret. -- VIZ Media

Cathy Trình

Stef

Another excellent work from Tatsuki Fujimoto~ panel-panel penggambaran film dokumenter nya Yuta beneran impresif meski aku ngga begitu ending nya yang modifikasi ending film sebelumnya in cool way.

eden

3.5☆

fujimoto really is one of the most promising mainstream manga authors at the moment. this felt a bit self-indulgent but i think undoubtedly its strongest suit was the format. i think he found an interesting way to incorporate the framing device of video recorded on phone into his framework through regular consistent frames. this really helped lend more impact to the scenes where we wanted to direct our attention by breaking away from this same pattern.

funny but the other day i was talking to someone about the benefit of one-shorts and shorter formats in honing your craft and i think this one demonstrates exactly what i meant by giving space for fujimoto to experiment without impacting the quality of his work or the story he wants to tell.

elif sinem

Obviously it is excellent; obviously it is a hell of a ride; we talk about Tatsuki Fujimoto here, a capital A auteur.

It is immensely rewarding to see an author circle the same topics over and over again, and every time he does he manages to change things up just enough to keep things exciting and fresh. It's even more rewarding to follow an author since debut and see him get bolder and more confident in the things he likes: his endless love for film; his love for an incomprehensible, difficult woman; the male protagonist on the brink of despair; the love for family, as complex as that may end up being; our nature to self-edit our every move, our core of being; and the detachment of a writer from the rest of the world, the way story and reality blur so often the line may as well be completely absent. 

All this being said, for as much as he talks about "classic Hollywood storytelling" here, Fujimoto's core problem is usually that he loves plot twists that he only includes to throw people off, as though he has to keep things interesting for himself in narratives that are already interesting as hell (the sole exception in my eyes is Chainsaw Man; unsurprisingly that was also the one where he was likely more closely confined to "keeping it cute"; if not in content, then in form and via the target audience/mainstream). He includes two plot twists here, and both times only barely gets away with it because of the sheer chutzpah that dominates his every page and dialogue. The ending felt very Fujimoto-esque in that manner.

Goodbye, Eri

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