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Munich, Germany, 1923. Two years have passed since Edward Elric was dragged from his own world to ours, leaving behind his country, his friends and his younger brother, Alphonse. Stripped of his alchemical powers, he has been all this time researching rocketry together with Alphonse Heiderich, a young man who resembles his own brother, hoping to one day find a way back home. His efforts so far had proven fruitless, but after lending a hand to a troubled gipsy girl, Edward is thrown in a series of events that can wreak havoc in both worlds. Meanwhile, at his own world, Alphonse Elric ventures deeper into the mysteries of alchemy in search for a way to reunite with his older brother.
Munich, Germany, 1923. Two years have passed since Edward Elric was dragged from his own world to ours, leaving behind his country, his friends and his younger brother, Alphonse. Stripped of his alchemical powers, he has been all this time researching rocketry together with Alphonse Heiderich, a young man who resembles his own brother, hoping to one day find a way back home. His efforts so far had proven fruitless, but after lending a hand to a troubled gipsy girl, Edward is thrown in a series of events that can wreak havoc in both worlds. Meanwhile, at his own world, Alphonse Elric ventures deeper into the mysteries of alchemy in search for a way to reunite with his older brother.
The film's central thesis explicitly critiques proto-fascist ideology, nationalism, and the exploitation of other worlds/peoples, while also highlighting the dangers of prejudice against marginalized groups. Its condemnation of these systemic issues and promotion of anti-authoritarian values firmly aligns it with a clearly left-leaning perspective.
The film maintains character designs consistent with its Japanese anime source material, without explicit race or gender swaps of traditionally Western roles. Its narrative explores themes of war and extremist ideologies, such as the Thule Society's proto-Nazi views, but does not broadly critique traditional identities.
The film features Izumi Curtis, a master martial artist and alchemist, who engages in and wins close-quarters physical fights against multiple male soldiers from the Thule Society. Her victories involve direct physical combat.
The film implicitly condemns the anti-Semitic ideology historically associated with groups like the Thule Society, portraying the antagonists and their dangerous nationalism as unequivocally wrong. By positioning the audience against this bigotry, the narrative affirms the wrongness of such prejudice.
Fullmetal Alchemist the Movie: Conqueror of Shamballa does not include any identifiable LGBTQ+ characters or themes. The narrative focuses on its established fantasy and historical elements without incorporating queer identities or experiences, resulting in no specific portrayal to evaluate.
All established characters from the Fullmetal Alchemist anime series and manga retain their canonical genders in this film. New characters introduced in the movie do not constitute gender swaps.
This animated film is a direct sequel to the 2003 Fullmetal Alchemist anime, maintaining the established character designs and races from its source material. No existing characters who were canonically, historically, or widely established as one race are portrayed as a different race.
Combines user and critic ratings from four sources