Clim’s death comes with his realization that he has lost everything even the memories of the Leilia he loved are marred by her revelation that she now cares most for the child she bore. When the Mezarte army breaks into the Iorph microcosm and forces them out, Clim fails to adapt even though his lover Leilia and his friend Maquia both find themselves changing as the years pass.Īnd in his nearsightedness–his expectation that those he cares about will be the same as he left them–wars with reality. Relative to the Iorph whose lives remain occupied by weaving, humans change significantly as time passes–in both personality and appearance. When the Iorph are attacked by the Mezarte who seek their blood that grants long life, three Iorph children to whom we are introduced, Clim, Leilia and Maquia, diverge on separate paths representing the consequences and aftermath of love, and more importantly, time.Ĭlim remains unchanged throughout the film, and that becomes his ruin.
Despite living many centuries, they are accustomed to a constant, predictable society where their primary duty is to weave.
Frankly, a good number of moments and pieces of dialogue might have been a bit too heavy and forced had it not been for the art and animation that made the visuals and storytelling feel natural.įor a society that weaves the history and stories of the world into fabric called Hibiol, the young Iorph are sheltered and emotionally inexperienced. Each illustration provides another insight into its subject: we see a destructive, berserk, Red-Eye-infected Renato, but at the same time, a breathtaking creature flying into the night, tangled with delicate woven Hibiol. The many fantastical elements in the film–from the dragon-like Renato to immortal weavers–come to life as dynamic and complex.