Japanese animation is in an entirely different realm than what we see over here from the Western branches. ChaO further proves that originality and bold storytelling come first, with creative visuals following soon after. Its unconventional mermaid romance makes a perfect venue to explore themes of ecological impacts as well as relationship power dynamics. There’s a dreamlike logic to the world that might not make literal sense, but it holds surprising emotional weight. A vibrancy in visuals and innovative character design establish ChaO as a serious festival flick with heart.
Eschewing typical mermaid tropes, ChaO begins with a storybook opening that recounts a romance between man and merman that allegedly “opened a new chapter in the friendship” between these two races. Journalist Juno is obsessed with this love story, as depicted from a text on Human-Mermaid Relations. The accuracy of what we hear initially appears a bit too cutesy to be genuine. Juno seeks to uncover the truth behind this legendary tale, tracking down the one and only Stefan to hear his version of events.
Sitting down to speak with Juno, Stefan takes us back to the past, during his tenure working for a shipbuilding company. Stefan has the idea for an Air Jet Project that could revolutionize—and most importantly, improve the safety capabilities—of propellors out at sea that are harming natural wildlife. After an intense marine accident, Stefan awakens to learn, to his astonishment, that he has been tied to the Princess of the Merman kingdom. Looking like a giant floppy piece of sushi, the Princess shows up by Stefan’s hospital bed to proclaim her love. She vows to stay with Stefan for all eternity.
What follows is a series of domino-effect misunderstandings, ones that change Stefan’s outlook on his potential bride. Her complicated name results in it being simplified to simply Chao. While these mermaids have the ability to take humanoid forms, that can only occur if they feel comfortable enough in their interactions with humans. In Chao’s case, this ties directly into love and trust. Her commitment to Stefan and naive sincerity gradually win Stefan over despite his initial reservations. As their love develops, so too do the complications that come with it. Namely, political pressures from the Merman king, ecological tensions related to the Air Jet Project, and personal insecurities that threaten to pull them apart.
Chao’s appearance leads to some truly hilarious moments, such as a time when Stefan takes Chao on a movie theater date. Her giant fishy figure blocks a man sitting behind her, who then asks Chao to remove a flowy hat. Naturally, even with the hat removed, the giant appearance of Chao does not allow even a glimmer of sight line. In true Japanese fashion, ChaO remains vibrant and chaotic, with the wildly imaginative designs and exaggerated animation perfectly accompanying the strangeness. From oversized baby-esque citizens to giant fish, the social commentary definitely takes a backseat to the quirky visuals. The most noteworthy of the bunch is probably also the most stunning: Chao’s land-based form, a beautiful human-ish appearance, yet bluer, flowier, with fangs. She mesmerizes without even trying. Stefan always lingers on this side of her, hopeful that Chao can eventually stay that way around him permanently.
Clumsy, adorable, and full of heart, Chao endears us much in the same way she does Stefan. Her rougher edges are not as whimsical as a storybook character, instead emphasizing the complicated nature of relationships and people at large. On the opposite side of the spectrum, Stefan gets built out through glimpses into his tragic past, adding further layers to his own arc. Our differences make us who we are, just as much as our similarities. As the emotional core shines through, especially in the third act, ChaO evolves into a unique form. This weirdly beautiful and absurdly humorous fable timelessly unfolds, reveling in its Japanese tendencies and aesthetic.
ChaO screened at 2025’s Fantasia International Film Festival.
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