When I go into films, one of the first things I pay close attention to is the story and narratives presented to me. The reason for this is that, no matter the visuals or camera work, if a story is engaging, other aspects of the story can be forgiven. However, The Camphorwood Custodian forced me to reexamine this mindset. This comes from two major factors: the art, especially establishing shots of the fictional Tsukigō shrine and Tokyo, and the commanding performance by Yūki Amami. That's not to say the story didn't engage me. But rather, when I look back on the film, these are the two things that come to mind first.

To say the art in The Camphorwood Custodian is inspired is an understatement to say the least. While beautiful, there is almost always a sense of whimsy with the several establishing shots, both around the Tsukigō shrine and metropolitan Tokyo. It's analogous to some of the work seen in Studio Ghibli films, particularly My Neighbor Totoro and Whisper of the Heart. In fact, there were several times I found myself saying, “Oh man, that is amazing,” just looking at the artwork within the film.

Unfortunately, the same cannot be said about the animation. For the most part, the animation is serviceable. It gets the point of the scene across, and places viewers squarely in the goings on of the film. There are even some fantastically animated scenes near the end of the film where some of the more fantastical elements of The Camphorwood Custodian's story come to the forefront. Yet those fleeting flashes of brilliance are counterbalanced by some very stiff camera work and close-up shots that stretch the limits of the animation. Specifically, there are panning shots where the animation feels choppy and takes you out of some tense moments in the story. The same is true with the close-up shots, where it feels as if the image was blown up in Adobe or some other art program. Of course, the latter may be a function of seeing the film on a large screen, and seeing the shots appear on a smaller TV screen may mitigate the issue.

A similar dissonance is heard in the film's score. The music numbers are unobtrusive, but there are moments, particularly in the first half of the film, when the Camphorwood tree is shown, the score leaves an eerie impression. Surprisingly, though, this eerie score lifts the opening and establishes that there is something about the tree and the surrounding myths we should pay attention to.

However, one musical piece is a bit disappointing. Not in that it's a poor piece–it's well composed and performed–but rather it would have served the story better if the piece had been left to the imagination of the audience. Yet, when taken with the narrative climax and its use to elicit an emotional response from the characters and audience, I respect the decision to play the piece.

Of all the things that stand out in The Camphorwood Custodian, though, is the commanding performance by Amami as Chifune. There is no better way to say it than she steals the show. Amami, herself, is an established actor with a handful of voice acting roles, and the experience really shows. She handles Chifune's confidence with such elegance and power you can't help but be sucked into the performance. And as the film progresses, we get a certain amount of vulnerability that's counter to what we expect of the character. I will even go so far as to say she outclasses Takehiko Koyasu's performance as Chifune's relative, Masakazu Yanagisawa, and Shigeru Chiba's bit part of the elderly Iikura.

For as much praise I give the film for its artwork and Amami's performance, the story itself is odd. On its surface, it appears to be a simple story of Reito Naoi establishing himself as the titular Camphorwood Custodian while making connections with those he encounters. However, we are really presented with four concurrent stories revolving around the Tsukigō shrine's Camphorwood tree. Each story involves the supposed wish-granting abilities of the Camphorwood tree, but from different perspectives.

These perspectives are Reito's in discovering why people visit the tree at New and Full Moons, Yumi Saji and her father Toshiaki Saji's story about Toshiaki's monthly visits to the shrine and Camphorwood tree, Soki Oba and his connection with his father Toichiro Oba, and the relationship between Chifune and Reito. Because these stories run concurrently, there is a slight disconnect when switching between each one. While this is mitigated somewhat with the Sajis, Obas, and Chifune running in high society, there are points where we, as viewers, must remind ourselves why each story is important. But the resolutions of the stories make this bit of effort worth it.

One thing that should be noted before seeing the film is that The Camphorwood Custodian touches on those who have been diagnosed with dementia. This makes an interesting plot point, especially with Yumi's grandmother. Yet it's the foreshadowing with a different character that makes the film's story compelling. Unfortunately, the film focuses on the memory loss of dementia, rather than the several symptoms those with dementia exhibit, such as lashing out at caregivers. Had some of these symptoms been shown in the film, it would have greatly elevated the story and the mystery surrounding the Camphorwood tree.

If there's one aspect of The Camphorwood Custodian's story I cannot abide by, though, it is that we are flatly told why people visit the Camphorwood tree on New and Full Moons. There is no sense of discovery by the characters or viewers, and no moment where viewers connect the dots. It's as if the film stops and, rather than address the characters, addresses the audience. It's a poor soliloquy at best and breaks any engagement with the story at worst. Had the film been a TV series, this issue may have been mitigated, but with the constraints of feature-length films, it's something that had to be done, or the run time would have easily exceeded 120 minutes. So, frustrating as it may be, this narrative choice is understandable.

While there are some minor issues with The Camphorwood Custodian, overall, this is an enjoyable film. It's not a film you watch on a lazy Sunday like Eiga Odekake Kozame Tokai no Otomodachi or an action-packed film like Demon Slayer: Kimetsu no Yaiba Infinity Castle, but rather falls into that wonderful middle ground where you want to take in all The Camphorwood Custodian has to offer.