Over Half the Movie is Tank Battles: Girls und Panzer der Film


Girls und Panzer is quite upfront about what’s in it: you have the cute girls, and you have the tanks. In spite of its seemingly vapid approach, however, the TV anime is actually quite robust, and I rate it very highly. But a television anime is different from a film, and a major question about the film sequel, Girls und Panzer der Film, is whether it can succeed similarly in spite of the new format. In this respect, I find Girls und Panzer der Film to be a very strong work, but one which is not as adept at drawing in skeptical or uninitiated viewers as its TV prequel.


Taking place right after the original TV series, Girls und Panzer der Film follows tactician Nishizumi Miho after she has led the ragtag rookies of Ooarai Academy to become the champions of competitive tank sports. Having defeating her former school in the grand finals, their efforts were supposed to save the school from being shut down, but because of a legal loophole their work isn’t done yet. With the help of old friends and foes alike, Miho and Ooarai Academy continue to fight for their school.

Television vs. Film

When it comes to the TV anime, I don’t believe it is absolutely necessary to be a fan of both cute girls and tanks. The show sports strong narrative and characterization as well as celebration of military hardware (as well as war simulation as competitive sport), such that a lukewarm reception of one aspect could be saved by the other. Because the series was more structured and more adept at its dramatic progression, it ends up being more enjoyable than other shows of its ilk.  It’s only when either one or both elements together create wariness in a viewer (dislike of moe designs, fear of the show’s potential role as military propaganda) that the anime doesn’t really work.

Girls und Panzer der Film makes no concessions. The film immediately starts with a tank battle and ends with a tank battle. In contrast to many anime, films, etc. where we see either multiple small battles without any real sense of connection between them, or the focus is on a single duel, the last fight is a continuous 50-minute campaign. It showcases elaborate strategies on both sides, lovingly introduces new tanks to the story, and brings together characters in battle that had previously never joined forces. This film is made for people who love Girls und Panzer, and while it happens to have a solid and enjoyable story overall, newcomers are clearly not its target audience.

Slim but Effective Character Narratives


The battles themselves are fantastic. It’s rare in even the most action-packed shows and movies that a single battle will go for nearly an hour, especially one where you have a strong sense of where all the pieces are positioned and how they influence each other. Girls und Panzer der Film accomplishes just that. However, I have to re-emphasize that the concluding battle is so long that you have to enjoy tank combat at least a little bit. Either that, or you have to be so invested in the characters that seeing them develop and grow gives you great joy, even if it’s amidst the explosion of tank shells.

That’s not to say the film meanders needlessly, or that it doesn’t know how to tell a story. Girls und Panzer der Film, despite its enormous cast of fan favorites, keeps its narrative nice and focused. Perhaps nothing is more surprising than the fact that fan favorite Akiyama Yukari does not take over the film, but that’s because it isn’t really about her. While considered a possible weakness of the original TV series, the light characterization of Girls und Panzer (where characters are defined either in groups or from a few simple and easy-to-grasp qualities) works in the movie’s favor because one can easily grasp many of the girls’ motivations in only a few minutes. Seeing Miho reunite on good terms with her sister Maho (the commander of the team she defeated in the championships) was a joy. Even my favorite character, Anzio’s squad captain Anchovy, makes an appearance, and shines in her own special way.

Girls und Militarism

The elephant in the room (though not really because I already mentioned it), is to what extent Girls und Panzer der Film promotes militarism. While it’s easy to write Girls und Panzer off, either as a series that is clearly designed to get Japanese men to enlist in the Japanese Self-Defense Forces or as simple fluff that shouldn’t be overthought, I don’t think it’s so simple.

When it comes to the question of whether Girls und Panzer glorifies war and militarism, the answer is yes and no. I know that sounds like a cop-out, but let me explain. On a surface level, the appeal in this respect is obvious. Get people to fall in love with the girls, associate them with tanks, and you might see some otaku driving them once they hit enlistment age, and while the anime isn’t quite that simple, that initial impression carries a lot of power. That being said, if you watch the series, tank combat is presented as a sport akin to archery or soccer, and it presents a world where tanks are no longer weapons that take millions of lives but rather tools for friendly competition. Is this whitewashing history, or is it presenting a kind of utopian alternative? I think cases can be made for both, which is why it’s more complicated than what is evident at first glance.

So where does Girls und Panzer der Film fit into all of this? I argue that, even as it celebrates tanks and tank combat, the film makes a rather prominent criticism of patriotism. In the movie, a new school is introduced call Chi-Ha-Tan, where the girls try to make up for their lack of skill with sheer fiery gusto. However, they’re also constantly sabotaging themselves because of the members’ desire to preserve their “honor.” When comrades are taken out, they believe that the best solution is to charge the enemy and fall in glorious combat. They despise turning their backs to the enemy, because they need to make up for everything. Unlike Saunders Academy (the American school), who believe in overwhelming force as a strategy, they have no actual strategy, and are instead merely victims of their own zealousness.

In other words, the science of senshadou (way of the tank) reigns, and foolhardy aggression (the kind of thing encouraged in Japanese citizens during World War II) is a mistake.


Girls und Panzer der Film deftly balances its two extreme components through efficient storytelling, compelling action, and overall cleverness. It’s not as newbie-friendly as the TV series, both in the sense that it’s a direct sequel and because the tank combat is much more important, but it also doesn’t let the desire for fanservice (both technological and girly) get too much in the way of a solid narrative. It even adds an interesting new angle on the image of itself as a work that promotes militarism. Girls und Panzer der Film does a lot in two hours, and leaves a lot to contemplate, even if the movie might seem pretty light on thoughtful content otherwise.

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10 thoughts on “Over Half the Movie is Tank Battles: Girls und Panzer der Film

  1. I think you can draw a parallel with Girls und Panzer and the original Love Live! in that they want to both save their schools from closing and use their activities to push this goal. I don’t get an armed forces recruitment drive from the series or the movie because going back to Otaku no Video there are always the military otaku who obsess over military hardware. The series has always pushed forward “senshadou” as a sport as you mentioned. I think the girl riding Boko the bear at the end was a great moment.


    • There exists criticism of the very fetishizing of military hardware itself because of its potential path to the glorifying of war, but I do think it’s not so cut and dry.

      It’s similar to how sports can be seen as a replacement for war, but this very act of substitution makes some critical of sports as encouraging violence as well.


      • Hey, just a thought:

        I don´t think there is blatant propaganda, as much as it can be seen as pandering to military otakus, mixed with a “kawai” theme. Remember that “otakus” aren´t just those who follow cutesy stories in anime or manga form, but those that are also very interested in historical settings (such as Sengoku period of Japan or WWII themes), and less frecuently, in gun knowledge. That, and that “kawaii” imagery is pretty much an accepted form of audiovisual content, no matter the intent or material at hand (look up “Higurashi When they Cry: Onikakushi”, which, despite its cute drawings, it´s a really well thought-out horror and mistery story in a Visual Novel format.) In Japan there isn´t really any shame in creating bizarre settings for their cultural works, because they don´t feel the same jarring “contextual disconnection” as, perhaps, a western viewer. I guess, that´s more of a different cultural sensibility, in which for fiction, “anything goes”.

        Look, Kihachi Okamoto even played our western fetish about the katana in the Far West setting ( East Meets West movie, 1995).
        They´re conscious about that, but they laugh it out. Whitewashing the tools of war? Not the first attemp, perhaps, but it seems more like a desperate plunge in search for viewers at the anime industry, not a carefully thought-out product in that sense. Mix “moe” with WWII panzers? Why not? … That would be in line with most of the marketinized train of thought (at least, speaking in the case of the audiovisual industry there) in those lands.

        I claim no objectivity about this, hm. As a western viewer, of course :P


  2. I feel one core issue Girls and Panzer TV addressed was the style of play between Miho and her sister, what each of the valued in the play, in the results. It kind of goes into the whole discussion about war and propaganda, and in anime terms, the notion of good, honorable bad guys/rivals, versus just plain bad guys.

    I think in general the presence of nuance is a key distinction between things like violence and propaganda and the depiction thereof for the sake of something more honest.


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