You’ve seen the long-eyelashed women. You’ve seen the skull and crossbones on a black starship. Maybe you even saw that Daft Punk movie back in the day and wondered why everyone looked like they stepped out of a 1970s disco fever dream.
That’s the Leiji Matsumoto touch.
Honestly, looking back at Leiji Matsumoto movies and TV shows from the vantage point of 2026, it’s wild how much he got right about the "vibe" of the future. It wasn't about shiny white plastic and clean edges. It was about rusty levers, glowing dials, and a deep, crushing loneliness that only a train traveling through the stars can provide.
Matsumoto passed away in 2023, but his "Leijiverse" is more alive than ever. It’s a mess of timelines and contradictions that would give a Marvel executive a migraine. But for fans, that’s exactly the point.
The Big Three: Where the Legend Started
If you’re trying to navigate the sheer volume of Leiji Matsumoto movies and TV shows, you basically have to start with the trifecta. These aren't just cartoons; they are the DNA of modern anime.
Space Battleship Yamato (1974)
Before Star Wars even hit theaters, Japan was obsessed with a sunken World War II battleship being raised from the mud, fitted with a "Wave Motion Engine," and blasted into space to save Earth from radioactive extinction. This show—known as Star Blazers in the US—is the reason why older anime fans act the way they do. It introduced the idea of a "space opera" with actual stakes. People died. Sacrifices were permanent.
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The 1974 series is the foundation, but the 1977 movie actually kicked off the "anime boom" in Japan. If you want to see the peak of this era, check out Farewell to Space Battleship Yamato (1978). It’s tragic, loud, and incredibly beautiful.
Galaxy Express 999 (1978)
Imagine a steam locomotive chugging through the vacuum of space. It sounds stupid until you watch it. The story follows Tetsuro, a kid who wants a mechanical body so he can live forever and avenge his mother. He travels with Maetel, a mysterious blonde woman who is basically the blueprint for every "ethereal anime girl" that followed.
The TV series has 113 episodes. Yeah, it’s a lot. But the 1979 movie directed by Rintaro? That’s the gold standard. It condenses the philosophy of "is eternal life actually worth it?" into two hours of peak 70s animation.
Space Pirate Captain Harlock (1978)
Harlock is the ultimate "cool" archetype. He’s a space pirate who doesn't actually steal much—he just refuses to follow a corrupt Earth government. He sails the Arcadia, a ship with a literal wooden steering wheel in the cockpit.
The 1978 TV series is great, but for many, the 1982 film Arcadia of My Youth is the definitive version. It explains his origin and his bond with the brilliant (and tragic) Tochiro Oyama.
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The "Leijiverse" Confusion: Is It All One Story?
Here’s the thing: Matsumoto didn't care about "canon."
You’ll see Captain Harlock show up in Galaxy Express 999. You’ll see characters who look exactly like the Yamato crew appearing in Queen Millennia. Is it a multiverse? Sorta. Matsumoto used to say all his stories were part of a "ring of time." Characters meet, die, and meet again in different lives.
Don't try to make a chronological timeline. You’ll just get a headache. Instead, think of it like jazz—same themes, different arrangements.
- Queen Millennia (1981): A prequel of sorts, focusing on a woman living on Earth who is actually from a rogue planet heading for a collision.
- Queen Emeraldas (1998): Focuses on the "female Harlock," a scarred pirate who sails a ship shaped like a giant zeppelin.
- Maetel Legend (2000): Bridges the gap between Queen Millennia and Galaxy Express 999.
The Daft Punk Connection: Interstella 5555
In 2003, something weird happened. The French electronic duo Daft Punk, who grew up watching Matsumoto’s Albator (the French name for Harlock), asked him to collaborate.
The result was Interstella 5555: The 5tory of the 5ecret 5tar 5ystem.
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It’s a 65-minute visual album for their Discovery record. No dialogue. Just music and Matsumoto’s iconic art. It introduced an entire generation of Westerners to his style. If you haven't seen the "One More Time" music video, you haven't lived. It’s probably the most "pure" Matsumoto work of the 21st century because it relies entirely on visual storytelling and emotion—two things he was a master of.
Why These Shows Still Matter in 2026
We live in an era of CGI and "perfect" animation. Matsumoto’s work is the opposite. It’s gritty. It’s full of "Leiji Meters"—those overly complicated control panels with thousands of tiny, blinking lights that make no sense but look incredibly cool.
His stories deal with "Manly Romance" (otoko no roman). In Japanese, this doesn't mean "dating." It means the romantic ideal of following your dreams, even if they’re doomed. It's about having a code of honor in a world that has none.
Modern Remakes
If you can't stomach the 70s art style, there are modern entries that are actually quite good:
- Space Battleship Yamato 2199: A gorgeous remake of the original series. It keeps the soul but fixes the weird 70s pacing issues.
- Captain Harlock (2013): A CG movie. It looks amazing, though the plot is... polarizing.
- The Galaxy Railways (2003): A spin-off focusing on the space-train defense force. It’s surprisingly solid.
Actionable Steps for the Aspiring Fan
If you want to dive into Leiji Matsumoto movies and TV shows, don't just start clicking randomly on a streaming site. You need a plan.
- Watch Galaxy Express 999 (1979 Movie) first. It’s the best entry point for his philosophy and visual style.
- Move to Arcadia of My Youth. This gives you the Harlock vibe without needing to watch 40 episodes of the old show.
- Try Space Battleship Yamato 2199. It’s the easiest "modern" watch and will show you why the franchise is so legendary.
- Look for the "Leijiverse" cameos. Half the fun is seeing a character from one series pop up in the background of another.
Matsumoto’s universe is a place where stars are distant dreams and the "Sea of Stars" is something you sail with a glass of wine in one hand and a laser pistol in the other. It’s melancholic, it’s grand, and it’s deeply human. Stop worrying about the timeline and just let the "Ballad of Departure" play.