The lateral tracking shot and I have had several encounters lately, particularly in Boku dake ga Inai Machi (ERASED in English), where the use of the lateral tracking shot by director Itou Tomohiko, to symbolize a specific aspect of a time-travel story, where the protagonist pushes his way from out of the frame back in, clawing their way to victory over the frame itself, over time, reminded me of its use in Hosoda Mamoru’s film, where Tomohiko was the assistant director. The lateral tracking shot has more good uses, which you can check in Every Frame’s a Painting video on the subject, focusing on another of Hosoda Mamoru’s films, Wolf Children. Here’s a video showcasing the moment I’m speaking of in The Girl Who Leapt Through Time:
The rest of this piece will be about the direction in Grimgar in general, and some musings on the Lateral Tracking Shot, which in this show is more often a “panning” shot. I’ll make use of moments from episode 5 of Grimgar, so there might be some scant spoilers for it in the form of an untranslated video segment.