Junk World: Takahide Hori Expands His Stop-Motion Universe
Japanese stop-motion visionary Takahide Hori has returned with Junk World, the highly anticipated follow-up to his cult classic Junk Head (2017). Released in Japan on June 13, 2025, and making its international premiere at the Toronto International Film Festival this September, the film has already sparked attention for its bold visuals, layered storytelling, and fiercely independent production.
A Prequel 1,042 Years in the Past
Junk World takes place over a millennium before the events of Junk Head, diving deep into the origins of the Mulligans — artificial humans who have gained independence from their creators. The story follows Robin, a robotic escort, and Tris, a human commander, as they descend into the underground city “Carp Bar.” Tasked with investigating a strange anomaly, they encounter a fanatical group known as the Gyula cult, leading to a chain of events that spirals into dimension-hopping and time-travel.
The result is a wild, multi-layered adventure split into four acts, filled with surreal imagery, eccentric characters, and revelations about identity, creation, and survival. While it expands the world introduced in Junk Head, the film also pushes into new thematic territory — sometimes bewildering, but always ambitious.
Built by Hand, Fueled by Passion
Like his debut, Junk World was crafted largely outside the traditional studio system. Hori and a core team of just six people worked for nearly three years from a small seaside studio in Chiba Prefecture, combining painstaking puppet animation with 3D printing, miniature sets, and select digital enhancements.
The project was made possible through two crowdfunding campaigns, raising over $150,000 USD from fans worldwide. This grassroots support, coupled with distribution from Aniplex, allowed the film to secure a nationwide release across Japanese theater chains — a remarkable feat for an independent stop-motion feature.
Audiences also had the chance to step into Hori’s world directly: an exhibition of the film’s puppets, vehicles, and sets ran at Yuko Higuchi’s Boris Gallery in Tokyo from June to August 2025.
Reception at Home and Abroad
Japanese critics have praised the film’s handcrafted detail and imaginative scope, while international audiences encountered Junk World during its TIFF premiere in the Midnight Madness program. Reviews have described the film as “one of the most insane stop-motion films ever made” — a blend of awe-inspiring design and overwhelming density.
Some reviewers note that its complex, dimension-shifting plot can be challenging for newcomers. Still, for fans of experimental and adult-oriented animation, Junk World represents a daring expansion of the medium.
The Road Ahead
With Junk World now released, Hori has confirmed he is planning a third film, tentatively titled Junk End, which will complete his stop-motion trilogy. No release date has been announced, and international distribution for Junk World remains in development.
What is certain is that Hori continues to carve out a space for independent stop-motion storytelling on a scale few others dare to attempt. Blending meticulous craftsmanship, eccentric humor, and uncompromising vision, Junk World stands as a testament to the power of persistence and imagination in animation.
