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Shin Godzilla (シンゴジラ, Shin Gojira)[b] is a 2016 Japanese kaiju film directed by Hideaki Anno and Shinji Higuchi, with a screenplay by Anno and visual effects by Higuchi. Produced by Toho Pictures and Cine Bazar and distributed by Toho Co., Ltd., it is the 31st film in the Godzilla franchise, the 29th film produced by Toho, Toho's third reboot of the franchise,[8][9] and the first film in the franchise's Reiwa era.[c] It is the first reboot of a tokusatsu series to be adapted by Anno and Higuchi, followed by Shin Ultraman (2022) and Shin Kamen Rider (2023).[12] The film stars Hiroki Hasegawa, Yutaka Takenouchi, and Satomi Ishihara. In the film, politicians struggle with bureaucratic red tape in order to deal with the sudden appearance of a giant monster, known as Godzilla, that evolves whenever it is attacked.

In December 2014, Toho announced plans for a new domestic Godzilla film. Anno and Higuchi were announced as the directors in March 2015. Principal photography began in September 2015 and ended in October 2015. Inspiration for the film was drawn from March 2011 earthquake, tsunami, and nuclear disaster in Japan.[13] Production had a budget of 1.3 billion, with advertising bringing the film's total budget to 2.19 billion.[4]

Shin Godzilla was theatrically released on July 29, 2016, it received critical acclaim from Japanese critics[14] and mixed reviews from Western critics.[d] The film grossed $79 million worldwide, making it the highest-grossing live-action Japanese film of 2016[20] and was the highest-grossing Japanese-produced Godzilla film in the franchise,[21] until Godzilla Minus One surpassed it in 2023.[22] It received 11 Japan Academy Prize nominations and won seven, including Picture of the Year and Director of the Year.

When the Japan Coast Guard investigates an abandoned yacht in Tokyo Bay, its boat is destroyed, and the Tokyo Bay Aqua-Line is flooded. After seeing a viral video of the incident, Deputy Chief Cabinet Secretary Rando Yaguchi believes it was caused by a living creature, which is confirmed as news reports reveal its tail emerging from the ocean. Shortly thereafter, the creature moves inland, crawling through the Kamata district of Tokyo, leaving a path of death and destruction during a disorganized and chaotic evacuation. The creature quickly evolves into a bipedal form but overheats and returns to the sea.

The government officials focus on military strategy and civilian safety; Yaguchi is put in charge of a task force researching the creature. With high radiation readings from the creature's path, the task force realizes that it is energized by nuclear fission. The U.S. sends a special envoy, Kayoco Anne Patterson, who reveals that Goro Maki, a disgraced, anti-nuclear zoology professor, studied mutations caused by radioactive contamination, predicting the appearance of the creature. Maki was disbelieved by both American and Japanese scientific circles. The U.S. then prevented him from making his conclusions public. The abandoned yacht in Tokyo Bay belonged to Maki, who left his research notes, jumbled into a code, on the boat before disappearing.

Yaguchi's team discovers that Godzilla's plates and blood work as a cooling system, theorizing that it could use a coagulating agent to freeze Godzilla. Analyzing tissue samples, it's discovered that Godzilla is an ever-evolving creature, able to reproduce asexually. The United Nations, aware of this, informs Japan that thermonuclear weapons will be used against Godzilla should the Japanese fail to subdue it in a few days; evacuations are ordered in multiple prefectures in preparation. Unwilling to see nuclear weapons detonated in Japan again, Patterson uses her political connections to buy time for Yaguchi's team, in which the interim government has little faith.

Yaguchi's team manages to decipher Goro Maki's encoded research using origami. The team adjusts its plan and procures the means to conduct its deep-freeze plan with international support. Hours before the planned nuclear attack, Japan enacts the deep-freeze plan. Godzilla is provoked into expending its atomic breath and energy against Predator and Reaper drones. The team then detonates nearby buildings and sends unmanned trains loaded with explosives toward Godzilla's feet, subduing it, and enabling tankers full of coagulant to inject it into Godzilla's mouth. Many are killed, but Godzilla is frozen solid.

In the aftermath, the fallout from Godzilla's attack is discovered to have a very short half-life, and Tokyo can soon be rebuilt. The international community agrees to cancel the nuclear attack on condition that, in the event of Godzilla's reawakening, an immediate thermonuclear strike will be executed. On Godzilla's tail, humanoid creatures appear frozen in the process of emerging.

The film features several cameos and supporting appearances, including Kengo Kora, Ren Osugi, Akira Emoto, Kimiko Yo, Jun Kunimura, Mikako Ichikawa, Pierre Taki, Takumi Saito, Keisuke Koide, Arata Furuta, Sei Hiraizumi, Kenichi Yajima, Tetsu Watanabe, Ken Mitsuishi, Kyūsaku Shimada, Kanji Tsuda, Issei Takahashi, Shinya Tsukamoto, Kazuo Hara, Isshin Inudo, Akira Ogata, Shingo Tsurumi, Suzuki Matsuo, Kreva, Katsuhiko Yokomitsu, and Atsuko Maeda.[23] Mansai Nomura portrayed Godzilla through motion capture.[25] Jun Kunimura previously appeared in Godzilla: Final Wars. Akira Emoto appeared in Godzilla vs. SpaceGodzilla.

Whereas the original Godzilla film was conceived as a metaphor for the atomic bombings of Hiroshima and Nagasaki and the dangers of nuclear weapons,[26] Shin Godzilla drew inspiration from the 2011 Fukushima nuclear disaster and the Tōhoku earthquake and tsunami. Many critics noted similarities to those events.[13] Mark Schilling of The Japan Times wrote that the Godzilla creature serves "as an ambulatory tsunami, earthquake and nuclear reactor, leaving radioactive contamination in his wake".[26] Roland Kelts, the author of Japanamerica, felt that the "mobilizing blue-suited civil servants and piles of broken planks and debris quite nakedly echo scenes of the aftermath of the great Tohoku earthquake, tsunami and nuclear disaster."[27] Matt Alt of The New Yorker drew similar parallels with "the sight of blue-jumpsuited government spokesmen convening emergency press conferences ... [and] a stunned man quietly regarding mountains of debris, something that could have been lifted straight out of television footage of the hardest-hit regions up north. Even the sight of the radioactive monster's massive tail swishing over residential streets evokes memories of the fallout sent wafting over towns and cities in the course of Fukushima Daiichi's meltdown."[28]

Robert Rath from Zam argued that Shin Godzilla is a satire of Japanese politics, and likened the protagonist Rando Yaguchi to the Fukushima plant manager Masao Yoshida.[29] William Tsutsui, author of Godzilla on My Mind, wrote in the Arkansas Democrat-Gazette that "Shin Godzilla leaves no doubt that the greatest threat to Japan comes not from without but from within, from a geriatric, fossilized government bureaucracy unable to act decisively or to stand up resolutely to foreign pressure."[30] In his review for Forbes, Ollie Barder wrote that the film depicted the Japanese government's "complex and corpulent bureaucratic ways ... unable to deal with a crisis in any kind of efficient or fluid way", noting that the government members use the hierarchical system to protect their positions at the expense of citizens' lives.[31] According to Schilling, the government officials, Self-Defense Forces officers and others working to defeat Godzilla are portrayed as hardworking and intelligent, despite "some initial bumbling".[26]

Then-prime minister Shinzō Abe spoke positively of the film's pro-nationalist themes, stating, "I think that [Godzilla's] popularity is rooted in the unwavering support that the public has for the Self-Defense Forces."[32]

In December 2014, Toho announced plans for a new Godzilla film for a 2016 release, stating, "This is very good timing after the success of the American version this year: if not now, then when? The licensing contract we have with Legendary places no restrictions on us making domestic versions."[33] The new film would have no ties to Legendary's MonsterVerse and would serve as a reboot to Toho's series. Minami Ichikawa would serve as the film's production manager and Taiji Ueda as the film's project leader. Ueda confirmed that the screenplay was in development and filming had been planned for a summer 2015 shoot. Toho would additionally put together a project team, known as "Godzilla Conference" or "Godzi-con", to formulate future projects.[34]

In March 2015, Toho announced that the film would be co-directed by Hideaki Anno and Shinji Higuchi (who both collaborated on the anime Neon Genesis Evangelion), in addition to Anno writing the screenplay and Higuchi directing the film's special effects.[35][36][37] In addition, Toho announced that the film will begin filming in the fall of 2015 set for a summer 2016 release.[38] Promotional artwork of the new Godzilla's footprint was also released, with Toho confirming that their new Godzilla will surpass Legendary Pictures' Godzilla as the tallest incarnation to date.[39]

Toho had approached Anno in January 2013 to direct the reboot but Anno initially declined due to falling into depression after completing Evangelion: 3.0 You Can (Not) Redo, stating, "A representative from Toho contacted me directly, saying, 'We'd like to direct a new Godzilla film.' At the time, I was still recovering from EVA 3.0, and right on the spot, flatly refused the offer, 'It's impossible. Even to begin work on the next Eva is impossible.'" However, Toho's sincerity and his longtime friend and co-director, Shinji Higuchi, eventually convinced him to accept the offer in March 2013.[38] Anno had also refused the offer due to a lack of confidence, stating, "I refused [the offer] since I didn't have confidence that I could exceed the first film or come close to equaling it. But I thought that if I were to come close even a little, I would have to do the same thing [as the first film]."[40] Mahiro Maeda provided the new design for Godzilla while Takayuki Takeya provided the maquette.[41] Director Higuchi stated that he intended to provide the "most terrifying Godzilla that Japan's cutting-edge special-effects movie-making can muster."[42] A variety of techniques such as puppets, animatronics, and digital effects were initially considered[41] and an upper-body animatronic was produced but went unused after Toho decided to create a completely CG Godzilla. VFX supervisor and co-editor Atsuki Satō stated, "CG production had already been determined when I began participating. In the end, it was the best option to allow quick edits as creative visions changed and produced a high quality film."[43] A colorless maquette was built for CG animators to use as a reference when rendering the CG Godzilla model.[44] Mansai Nomura provided the motion capture performance for Godzilla.[25]

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