I have no idea if I’ll do Kyoto Animation justice after all that happened this year, so here goes nothing.
It should come as no surprise to anyone familiar with the work of Naoko Yamada that flowers and flower language have their place in her latest film: Liz and the Blue Bird. For Yamada, flowers take the place of things left unsaid when people are unable to express their feelings for each other due to a physical disability (A Silent Voice), mental illnesses or internal fear (also A Silent Voice), societal expectations (her episode of Violet Evergarden), or myriad other reasons. When important context goes unsaid, Yamada frequently turns to flower language to do the emotional heavy lifting.
Her usage of flowers in Liz and the Blue Bird has a defter touch than A Silent Voice and Violet Evergarden‘s camellia princess. Many things go unsaid or unspoken between leads Mizore Yoroizuka and Nozomi Kasaki and Yamada wisely uses what unites them — music — to express most of them. Flowers create a secondary, background context, featured more prominently in the Liz and the Blue Bird storybook — used as another framing device for Mizore and Nozomi’s relationship — with a few flashes to real-life flowers at key moments between the two.