Dumpster diving on Christmas eve, a trio of homeless chums discover an abandoned infant and set out to find its parents. Not just to scold them for being so callous, but to also learn what could possibly motivate someone to do such a thing. En route, they discover a thing or two about one another - mismatched, adopted family as they are - and realize a certain degree of peace within themselves.

Satoshi Kon’s most popularly accessible film, _Tokyo Godfathers_ straightens the narrative in comparison to his other, trippier efforts. Which isn’t to say it’s overly simplistic or less stylized. It merely adds its wrinkles in different, subtler ways. Stretched truths and unreliable narrators take the place of _Paprika_’s dream sequences or _Perfect Blue_’s surreal fantasies. Less challenging, perhaps, but also more pragmatic than the loftier, artier films in his too-brief portfolio. It’s different, but it’s still clearly a Kon, with its knack for small details, effective emotional punches and understated sense of humor.

Sweet, funny and grounded, _Tokyo Godfathers_ constantly flashes a dry wit and, although it often tugs at the heart strings, things never get overly soft or weepy. The three leads are diverse and interesting, each with an onion skin of personal history to explore, and their hunt for answers amidst the overpopulation of a major world metropolis constantly jolts out in surprising new directions. Beautifully written, drawn and animated, it’s often unfairly overlooked.

An unlikely triumvirate of homeless folks discover an abandoned baby whilst scavenging through the rubbish of their downtown Tokyo district. What to do? Well this trio - a drag queen who has seen better days, one who has a bit of a penchant for the gin and the young runaway girl "Miyuki" set out to try and repatriate this Christmas baby - come what may! They don't have much to go on, but determine to painstakingly follow what little clues they have in the hope that they can identify the mother of this pitiful bundle. Along the way, we find ourselves in a semi-comical environment as the three make progress - almost despite themselves. Confused, yes? Muddled? Yes, that too - but the sum of the three individuals proves to be worth far more than the value of each part. They function as a team because they shouldn't - and that is where much of the humour and the potency of the drama comes from. The animation is stylish and the hues and shades are particularly effective at illustrating their environment and at complimenting the humorous elements of their detective work. For some, 2022 attitudes may show up some of the character cracks that would have been groundbreaking at the start of this new millennium, but given it was made when it was - it tackles quite a few issues with a candour - and vivacity - that all works well to create an entertaining, charming and at times just a little thought-provoking animation.