![]() ![]() “The Boy and the Heron” is split into two distinct parts: one centered in the real world and another of pure fantasy. A mysterious creator character serves as a Hayao Miyazaki stand-in, whose conflicts in convincing Mahito to succeed him mirror real world conflicts between father and son. Elements of Hayao Miyazaki’s personal life bleed into the film. Given this context, one can imagine how terrible it must be to be Hayao Miyazaki’s son, Goro Miyazaki, the director behind “Earwig and The Witch.” After three attempts at succeeding his father at the helm of Ghibli, to see his father return to filmmaking in such a successful way must be crushing.Įven more crushing for Goro is the film’s theme, which centers on the joy of worldbuilding and the difficulty of leaving it all behind. The film was also criticized for its lackluster story and widely considered a creative misstep for the studio, placing its future in peril. Ghibli’s return to its more traditional 2D animation style is a stark and welcome departure from their last film, “Earwig and The Witch,” which was criticized for its 3D animation style that unsuccessfully attempted to recreate Ghibli’s signature aesthetic. I especially liked the elderly women characters, whose caricaturistic appearance expands on characters that otherwise don't have much time to leave individual impressions. ![]() Ghibli remains ambitious in the animation department throughout the film, with beautiful, dreamlike scenes and characters that stand out. ![]() ![]() Simultaneously, the animators at Studio Ghibli branch out from their standard animation style, creating a scene that feels like a foggy memory or dream through use of flowing, almost liquid figures and locations. Though the audience is immediately thrown into a deeply emotional and intense scene, Miyazaki takes time to showcase the main character, a boy named Mahito Maki, putting on his clothes and shoes - subtle actions that provide a touch of humanity to the characters drawn on screen. The pre-screening, which ran out of spots in less than a minute of registration opening, was the third opportunity for Princeton students to see a film before its wider release, following pre-screenings of “Saltburn” and “All Dirt Roads Taste of Salt“ in prior weeks.įrom the first frames of the film, Miyazaki’s philosophies about filmmaking shine through. This special early screening was courtesy of USG's Movie Committee and GKIDS, the U.S. ![]()
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