Marking Hayao Miyazaki’s first film in a decade, The Boy and the Heron was my most anticipated film of 2023. The film follows Mahito Maki, a young boy who must deal with the loss of his mother, Hisako, in a hospital fire during World War II. As his father finds love with Hisako’s sister Natsuko, Mahito journeys through a literal and figurative path of grief and acceptance with the assistance of the mysterious Grey Heron.
Written and directed by Hayao Miyazaki, The Boy and the Heron is a stunning piece of cinema. It feels big and grand, harking back to previous surreal epics such as Spirited Away and Howl’s Moving Castle. While the film may be maximalist in its approach, the tone draws more parallels to The Wind Rises due to its more serious themes and wartime context. The film feels like Miyazaki taking a final bow after changing the world of animation, and cinema itself, forever.
The film is distinctly Miyazaki, filled with expressive characters, colourful scenery and adorable creatures. What makes The Boy and the Heron standout in particular is how unflinching the character design is. The Grey Heron becomes truly grotesque during his transformation and each of these sequences is filled with intricate details. There are also plenty of Easter eggs throughout the film relating to Miyazaki’s previous films, especially Spirited Away and Howl’s Moving Castle.
The characters are brilliantly written. Mahito serves as the audience’s way into the other worlds and his confusion and curiosity is portrayed beautifully. His dynamic with the Grey Heron changes and shifts as often as yhr landscapes, keeping the film in flight and showing that internal and external struggle Mahito has. The Grey Heron is a tortured character and acts as an anti-hero. He acts as an antagonist initially as he lures Mahito into a forbidden tower by saying they will find his mother.
The main theme that is prominent throughout the film is loss and grief. These discussions are examined through the eyes of Mahito, meaning that the film delves into complex and alien emotions. From the opening scene in which Mahito’s mother perishes in the fire to the climactic scene where Natsuko is in a delivery room, we see all of Mahito’s trauma rising to the surface. There is an elemental quality to the film as Mahito’s journey sees a mesh of fire, water, earth, and air. Each holds significance as they guide him through each world until he is able to find peace.
One of the highlights as expected is Joe Hisaishi’s stellar score. How he did not receive an Academy Award nomination is truly criminal. While the music for The Boy and the Heron may not reach the heights of his previous scores, it boasts some of his best film work yet. The track “A Feather in the Dusk” is among the high points, serving as accompaniment to the conflict between Mahito and the Grey Heron while “Memories” is a melancholy piece that calls back to Mahito’s trauma of losing his mother. It feels as though Hisaishi composed the music with the mindset of Mahito’s emotions with excellent results.
The Boy and the Heron is clearly a passion project that is executed fantastically. Miyazaki’s attention to detail is second-to-none and it marks a phenomenal installment in a career that has changed the animation game forever. What makes it such an effective film is how engaged with the time and setting The Boy and the Heron is but its themes and discussions are universal and relatable. Hopefully we will see Miyazaki take to the stage victorious at the Oscars next month.
What did you think of The Boy and the Heron? Let me know in the comments below!
There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.
The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.
Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.
As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.
One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.
What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.
Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.
What did you think of Perfect Blue? Let me know in the comments below!
I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.
The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.
The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.
The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.
Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.
You can read my write-up on Cardiff Animation Festival here.
Cardiff Animation Festival offers an extensive showcase of some of the best animation films from around the world. I attended the physical festival at Chapter and discovers a rich eclecticism of the films on offer.
Checkpoint
Day 1
The first thing that you notice upon walking into Chapter Arts Centre is just how busy it is. 2022 marks Cardiff Animation Festival’s fifth year and its second in-person event (the first physical festival took place in 2018, and was followed by three years online).
This year, CAF was able to make good use of the physical space available while also boasting an array of virtual events which continue after the in-person offering until 24th April. The festival was spawned from a love of the animation medium – specifically short films and the licence they give for emerging filmmakers to be experimental with their storytelling and animation style. Hence, it’s no surprise that this is a festival which makes space for both local and international voices. That eclecticism is certainly felt in its many offerings, with no shortage of themes, styles, and perspectives, culminating in a festival that is culturally rich and rewarding.
Hand
There are seven showcases of short films numbered from 1 to 7, each containing a multitude of shorts within the category that share a common theme. I attended ‘Shorts 3: Sound/Vision’, which boasted the most amount of shorts with 17 films included in total.
As the title of the showcase suggests, these films are linked by their innovative use of sound and how this compliments (and sometimes contrasts) with the animation styles. Themes spanned numerous areas, with the pandemic and climate change being among the most recurring topics. The use of hands in various shorts such as WYH and Hand was particularly striking, used to explore the pandemic and gesture to the natural human instinct to communicate and connect with others.
Other shorts focused on the body as a whole, and brought brilliant commentary to discussions around mental health, especially prevalent in shorts such as Downfall and Summer Years. Others ventured into comical territories, including Acid Rain and Cockpera.
Noise Film
Merlin Voss’ poignant Noise Film was a personal highlight. Its narrative follows a protagonist going about her daily routine with the entire soundscape – from car to weather – rendered by humans. The way Noise Film utilises this sound exemplifies the power of subjectivity and how personal perspective may shape perception of outside events.
‘Shorts 2: Human/Nature’ was another bumper category with a whopping 16 films within its rota. These shorts were connected by their themes of identity and the self, contrasting the differences between mankind and nature in a period of increasing climate-based tension.
There were shorts that had a keen interest in the natural world such as Suburb and In Nature, while others had a sharp focus on the human experience such as the heartbreaking Deep Tissue and Silvering. I would be remiss not to mention the hilarious Magical Cat, a series of minute-long shorts that cropped up throughout these pieces following the comical activities of an animated cat.
Magical Cat
Emma Kelly’s Looking for Answers, in particular, offered profound reflection on human experience with a simple story of a man eager to plant and grow a seed who ultimately gets knocked off course by an obsession with research.
‘Shorts 6: Reel/Life’ featured 12 shorts with experimental themes and storylines. Most were made as a response to political issues, and their interests were global in reach; from Checkpoint which follows a young girl in modern-day Palestine to Les Larmes de la Seine (The Seine’s Tears) which explores France’s Algerian population in the 1960s and their rebellion against the curfews imposed by the police. Necessarily, these were not comfortable watches and they emphasised the didactic and activistic power of the animation medium, especially in addressing political taboo.
Freedom Swimmer
Olivia Martin-McGuire’s Freedom Swimmer was especially moving. Its narrative follows a man’s past flight from China to Hong Kong with his young daughter, its story running in parallel to the story of his granddaughter’s current fight for freedom in modern-day Hong Kong. The combination of live-action interviews (using actors to ensure all identities are anonymous) and minimalistic animation tells the story with an intricacy which is at once specific and universal.
‘Shorts 4: Home/Sick’ was the final set of shorts I attended on the first day. Each filmmaker in this showcase explores the themes of home and belonging, the meanings of these terms being both literal (I Call it Home) and conceptual (Depths of Night). Each short gives insight into the nuance of individual experience, and the complexities of what we claim as home.
Affairs of the Art
Joanna Quinn’s Academy Award-nominated Affairs of the Art is the stand-out piece of this set. It sees the return of her much-loved character, Beryl, in a mockumentary format as the protagonist delves into obsessive natures, documenting Beryl’s own fascination with art. Quinn perfectly conveys the shifting dynamics in the family home as she delves into desires and regrets – a perfect encapsulation of the universal longing for identity and meaning.
Day 2
Day 2 is marked by another bustling cinema foyer – the area wall to wall with aspiring animators with plenty of space for scribbling and storyboarding ideas. As well as more film showcases, a masterclass hosted by Joanna Quinn, director and animator of the Oscar-winning short film, Affairs of the Art, is on offer.
Isaiah
Things kick off with ‘Shorts 5: Silent/Cinema’. This collection of films contains the least amount of shorts with only nine in its repertoire, but this is only due to the longer running time of each piece.
‘Shorts 5’ is, in many ways, the most accessible of all the showcases – each piece linked by lack of sound and visual storytelling. Still, the plots are no less vivid for the restraint. Isaiah – one of the shortest of these films – tells the story of Mari Lywd and the tale of its Christianisation. Meanwhile, Megamall provides an insightful look into capitalism and its varying impact.
Pilar
Yngwie Boley’s Pilar captures my heart – its story following a character desperate to escape her post-apocalyptic village and reconnect with nature. Equally wonderful is Samantha Moore’s Treasure, the film following a man’s search for treasure using a metal detector in the modern-day and the connection to the past where we follow a young mother from the past who sacrifices her treasure for the good of the community. These films are completely different in themes and animation style, but both convey the power of the visual format to transcend the need for dialogue in conjuring intense emotion.
‘Shorts 1: Together/Apart’ consists of films connected by the themes of connection and communication – a deeply relevant topic following the years of global pandemic. These shorts display an acute focus on humanity.
Signs
Films such as Signs and Everything Is Going To Be OK explore the desire to reconnect with others after losing oneself in daily routine, while My Ex Boyfriend is a hilarious story about a woman whose life is flipped upside down when water begins to pour out of her boyfriend.
What was great about this collection of shorts was the inclusion of LGBTQA+ stories such as Sincerely and All Those Sensations in My Belly which followed the respective protagonists in their quest to find love in a world which doesn’t always accept them. Lina Kalcheva’s Other Half is a thoughtful claymation exploring a world where couples literally merge together to form one body.
Day 3
The weekend has begun and more animation is on the menu. I start off with ‘Shorts 7: After/Dark’ – with a turn to the darker side, CAF offers firm rebuttal to offhand remarks made at this year’s Oscar ceremony about animation being solely for children. Feature film Flee – which screened at this year’s CAF – was a contender for multiple Academy Awards. The 12 films within ‘Shorts 7’ explore (sometimes with graphic detail) issues of trauma and violence.
MOM
The first film, HIDE, is a beautiful and claustrophobic look into trauma as we see life through the eyes of a young boy who hides in a cupboard and sees glimpses of family life that are often kept hidden from children. MOM follows a young girl who is being hunted for entertainment as her plight is broadcast across the country and her reflection on memories with her mother allow her to come to terms with how the past has shaped her.
The Swiss film, Mr. Pete & the Iron Horse, provided a hint of fun – following a soldier and his quest to appease his leader. Paul O’Flanagan’s Memento Mori, which followed an esteemed post-mortem photographer, Mr. Huxley, and an encounter that forces him to reflect on his previous behaviours is a standout piece. Featuring Mark Gatiss as the protagonist, the film transports its audience into the Victorian era and does a brilliant job of setting the mood and tone from start to end.
Mr. Pete & the Iron Horse
Day 4
Shorts all out the way, the last day of the Cardiff Animation Festival has come around fast. Today the schedule turns East with two feature length Japanese films to watch before the concluding awards ceremony.
Japanese documentary The Kingdom of Dreams and Madness starts the day, the film following iconic Studio Ghibli founder and director, Hayao Miyazaki, as he directs his 2013 feature, The Wind Rises. It’s a beautiful and poignant look into the creative process of one of animation’s leading figures, looking into his entire career and what led him to make The Wind Rises.
The documentary not only gives a brilliant insight into one of the world’s best animation studios but also shows just how much hard work and dedication goes into making a feature-length animation. The screening was followed by a talk by the popular podcasters behind Ghibliotheque where they discussed various aspects of the studio and the filmmakers.
The Kingdom of Dreams and Madness
Next I attend the Welsh premiere of animator loundraw’s directorial debut, Summer Ghost, a 40-minute film that follows three teenagers who meet in the hopes of encountering a mysterious ghost who has been appearing to people during the summer months. A deeply resonant film that looks into the complexities of adolescence, identity, and trying to find your place in a quickly-advancing world, Summer Ghost boasts captivating visuals and a gripping story while managing to delve into each of the main characters’ lives in a way that feels natural. There was also a pre-recorded Q&A with loundraw following the film which delved into his rise in the world of animation and the various inspirations behind the film.
Awards Ceremony
The festival concluded with the awards ceremony where multiple films received the beautiful trophies that had been painted with dots by festival-goers throughout the weekend.
After each winner was announced, the audience was treated to a final viewing of the winning film which was a great bonus. A resounding success from start to finish, Cardiff Animation Festival is a powerful showcase for the emotional vitality and variety of the animation form.
You can see all the winners of the Cardiff Animation Festival 2022 in order that they were announced below:
Best Micro Short
Winner: NOMINO SUKUNE (directed by Ryotaro Miyajima)
Highly commended: Crafty Witch (directed by Laura-Beth Cowley)
Young Jury Award
Winner: Shift (directed by Cam Swartz)
Highly commended: Heartwood (directed by Reyes Fernández), Tobi and the Turbobus (directed by Verena Fels), and Tacet (directed by Zachary Simon)
Quick Draw Award
Winner: Blending In (directed by Bethany Powell)
Highly commended: Camouflage, Sniff Test, Blend, and Guinea Pigment
Best Student Award
Winner: Other Half (directed by Lina Kalcheva)
Highly commended: Sauna (directed by Anna Lena Spring and Lara Perren)
Best Short Film
Winner: Freedom Swimmer (directed by Olivia Martin-McGuire)
Highly commended: In Nature (directed by Marcel Barelli)
Audience Award
Winner: Affairs of the Art (directed by Joanna Quinn)
Anime is always an exciting medium as it boasts some of the most progressive filmmaking. While most people are familiar with the works of Studio Ghibli, there is another huge animation studio that has become hugely popular in Japan and has a large following worldwide. Studio Chizu was founded by director Mamoru Hosoda and producer Yuichiro Saito in 2011 and has released four films to date. The newest of these films is Belle, which had its premiere at the 2021 Cannes Film Festival, where it received a 14-minute standing ovation. The film is an adaptation of Jeanne-Marie Leprince de Beaumont’s fairytale Beauty and the Beast, but where there have been many traditional adaptations over the years (with the most famous rendition being Disney’s Oscar-winning 1991 animation), Belle completely reinvents the story for the modern-day by incorporating social media while still sticking to the moral and basic storyline of the tale.
The film follows Suzu, an introverted 17-year-old schoolgirl who loves music and singing but hasn’t sung since her mother died, who sets up an account on social media app U which allows users to create an avatar and experience a whole new world. Suzu’s avatar is called Belle and quickly gains popularity by singing songs that she has written. When Belle is due to perform at her biggest concert to date, the performance is crashed by the “Dragon”, a mysterious figure who is plagued with anger and fury, and the two eventually bond.
Like all of Studio Chizu’s outputs, Belle is written and directed by Mamoru Hosoda, who strips the original fairytale down to its core and propels it into the 21st century, while providing little nods to the 1991 Disney adaptation. What makes Hosoda such a brilliant visionary is his ability to delve deep into the characters’ internal conflicts and his fearless approach means that we are able to see all sides of his protagonists while injecting plenty of humour and lightness into the film to provide a perfect balance. With Belle, Hosoda provides plenty of background and characterisation for Suzu, so we get a perfect idea of who she is and why she acts the way she does. We see that Suzu has a deep internal conflict as she struggles to form her own identity which is contrasted with the confidence that she exudes as Belle in the world of U. Adding onto this, Hosoda is not afraid to shy away from mature themes and adds in discussions on grief, loss, and child abuse, proving that animation can discuss real-life topics in the same way that live-action films do.
The style of the film is captivating from the opening scene as we are immediately thrust into the world of U and get to see Belle performing a song while riding a whale. The great thing about the U universe is the limitlessness and imagination that takes hold as we see hundreds (if not thousands) of uniquely designed characters against a computer-animated backdrop that is vast and endless. The production design is carried out by Tomm Moore, Ross Stewart, Alice Dieudonné, Almu Redondo and Maria Pareja, who are best known for their work for Cartoon Saloon, and it proves to be a perfect combination as they help bring Hosoda’s vision to life.
Leading the cast is Kaho Nakamura, who voices Suzu and Belle, providing the speaking and singing performances. Nakamura perfectly captures Suzu’s frantic and nervous energy as we sense her internal conflict and desire to forge her identity, while also providing the confidence and sense of self that Belle has. Although Belle is technically Suzu, it is technically a role of two parts as Belle is a part of Suzu that Suzu feels unable to convey to the real world, meaning that this is not an easy task to achieve. However, Nakamura portrays every aspect of both characters beautifully, while also having the singing voice to match. The contrast between the opening scene in which we hear Belle sing confidently and fantastically and the following scene in which Suzu frantically gets ready for school shows a huge conflict in her personality and identity.
Now that we’ve discussed the Beauty, it’s important to discuss the Beast, which in this case is Dragon. Providing the voice of Dragon is Takeru Satoh whose performance is filled with the darkness and turmoil that the character feels. The character is introduced with a bang halfway through when Belle has risen to fame and is performing at a huge concert as he is pursued by a group of vigilantes who swear to bring justice and order to the U universe. Dragon’s first scene is highly intense and violent, marking a huge contrast to the events of the film up to this point, and perfectly marks the differences between the two main characters. Dragon doesn’t say a lot, but when he does, Satoh perfectly conveys the struggle that the character has and the physical and mental anguish that he is feeling.
Going against the norm, Belle incorporates musical elements, which is almost unheard of in Japanese cinema, especially within anime. Hosoda originally wanted Belle to be a musical but restricted the number of songs; however, the songs that managed to make the final cut are exceptional and fit beautifully into the story and the world of the film. The film’s opening number “U” is our introduction to the character of Belle, who we see before we are introduced to Suzu, and immediately immerses the audience into the world of U and the various characters that inhabit the social media world. The film’s climactic moments lie in the performance of “A Million Miles Away”, which is a slow ballad that Suzu sings when she is searching for Kei and Tomo. The song builds and builds, showing the power and community that has brought millions of social media users over. Comparing the emotional tone of “A Million Miles Away” with the upbeat and celebratory tone “U” displays the complexities in Suzu’s character, and her ability to connect with people through the power of music.
Belle is an animation that will steal your heart and stay with you long after it has finished. Fearless in its theme and progressive in style, Belle marks another triumph for Hosoda and Studio Chizu, and it is such a shame that it hasn’t had a look-in at the major award boards. Between Suzu’s impeccable characterisation and the wonderful songs, Belle is a film that has a lot to say and propels anime into a new age thanks to its combination of hand-drawn and computer animation.
What did you think of Belle? Let me know in the comments below!
One of my favourite anime shows of all time is the 90s classic Sailor Moon. The original anime based of the hugely successful manga by Naoko Takeuchi ran from 1992-1995 for five seasons following teenager Usagi Tsukino who is an underachieving schoolgirl by day and a crime-fighting hero by night. Along with the other Sailor Senshi who are introduced as the series goes on. The five seasons are known as Sailor Moon, Sailor Moon R, Sailor Moon S, Sailor SuperS and Sailor Moon: Sailor Stars (also known as Sailor Stars), respectively. One of my favourite shows for a long time, Sailor Moon is one of the most popular animes in the world and for good reason. It’s relatable look into the life of teenage girls as they deal with relationships and friendships while also having to pass school exams and think on their futures.
There are times when the show hasn’t dated well (insert the weight-shaming episode here) but overall, the show was pretty progressive considering it was made in the 90s with children being the target demographic. I say this because there are a slew of LGBT relationships throughout the show’s run from first season villains Zoisite and Kunzite to the third season’s addition of Sailor Uranus and Neptune who are in a relationship. Also, the depictions of death and loss grow more violent as the show goes on to reflect the greater threats as well as acknowledging that the audience has grown up alongside the show and its characters.
With its wide array of characters with distinct personalities, there aren’t a lot of shows like Sailor Moon around and it’s that resonance that has made it a pioneer of the Magical Girl genre within anime. With a staggering run of 200 episode, I have decided to rank my top 5 favourite in order which was insane given how many there was to choose from.
Here are my top 5 episodes:
5) “The Dark Queen: Birth of the Black Lady”, Sailor Moon R
The first episode to kick off this ranking is one from the show’s second season. Chibiusa has been manipulated by Wiseman into believing that no one loves her, conjuring up memories from Crystal Tokyo. Using her sadness and anger, Wiseman transforms Chibiusa into Black Lady. Given how the relationship between Usagi and Chibiusa is extremely turbulent during this season, it’s hard to watch as the former is unable to heal Black Lady. The foundations of their growing relationship seemed to have been wholly crumbled by Wiseman’s tricks and now Black Lady is another obstacle in the Sailor Senshi’s way to saving the world. All through Sailor Moon R, Chibiusa is seen as extremely stubborn but she is also a child and this is what makes her emotions easily swayed when she is constantly brainwashed into thinking she isn’t loved. Black Lady seems to be that culmination of negativity brewing inside Chibiusa that she feels against herself.
4) “Shadow of Destruction: The Messiah of Silence Awakens”, Sailor Moon S
The first of two Sailor Moon S episodes to make this ranking, this episode takes place later in the season and sees the second arc come to a brilliant climax. We see the innocent Hotaru succumb to the darkness that has ruled over her through the season and the revelation that she is the feared Sailor Senshi and the last to be revealed, Sailor Saturn. Having captured Chibiusa, the Mistress of Darkness has ruled over Hotaru and takes Chibiusa’s heart crystal and consumes it. Hoping that the light inside Hotaru will win and she will transform to Saturn is diminished and we see her change into the evil Mistress 9 instead. What puts this episode on my list is the heartbreaking betrayal that the darkness has made Hotaru carry out on Chibiusa. Their blossoming friendship is one of the highlights of this season and seeing the frail Hotaru succumbing to darkness is a sad turn of events. The strength of the evil seems to be hugely advanced as well and appears that it will overwhelm the Sailor Senshi. Hotaru has now become a figure to be feared rather than sidelined.
3) “Usagi’s Love: The Moonlight Illuminates the Galaxy”, Sailor Moon: Sailor Stars
It would be insane not to put the final episode of the whole show on here. Rounding of a fantastic 200 episodes in its 5 season run, the whole saga concludes with Eternal Sailor Moon defeating Chaos Galaxia. This episode sees Sailor Galaxia falls under the evil entity Chaos’ control thus becoming Chaos Galaxia and everyone except Sailor Moon is lost. Sailor Moon transforms into Princess Serenity and manages to defeat Galaxia by refusing to fight and holding onto her hand until she has rid herself of Chaos. Despite no violence, it’s still intense and action filled as Galaxia struggles to fight the darkness within. The series is rounded off nicely afterwards as Usagi is reunited with Mamoru and recounts the voice-over thay we were so used to from the first season when she introduces herself as the original theme song plays. Despite the Sailor Stars anime differing hugely from the manga, I think the ending ties everything up perfectly combining the more mature Usagi that has developed through the seasons with the more nostalgic and innocent Usagi we were first introduced to in episode 1.
2) “Death of the Sailor Guardians: The Tragic Final Battle”, Sailor Moon
The penultimate episode of the first season definitely comes as a shock to those who watch the show from the beginning. The Inner Senshi venture to the North Pole where Queen Beryl resides with her minions in a bid to end her plans once and for all. What happens next is a sequence that threatens to shatter the foundations of Sailor Moon’s strength that she has been building since the very first episode. One by one, the Sailor Senshi are taken out by minions until Sailor Moon is the last one left. It’s not so much that is alone that is sad, it’s the explicitly and way that the other four are killed. As the others are more mature than Sailor Moon, they understand and acknowledge the sacrifice that they must make to save the world and particularly when Rei is killed in a huge blaze, we see vacancy in Sailor Moon’s eyes. The hopelessness she feels as she staggers on threatens to undo all of the hard work that she has achieved making it one of the most intense sequences in the entire anime’s run.
1) “The Death of Uranus and Neptune: The Talisman Appears”, Sailor Moon S
By far my favourite Sailor Moon episode from my favourite season, the structure and execution of this midpoint episode is so unique and brilliant. Following the Witches 5’s failing search for the talismans, the story climaxes with the revelation of two of the three mysterious items. In a shocking twist, the two talismans are found in the hearts of none other than Sailor Uranus and Neptune and this episode is as heartbreaking as it gets. We see the Sailor Scouts in their most iconic scene in the anime as they hold hands and reflect on their mission and its importance. What follows is them agreeing to meet Death Buster, Eudial, who lures them to a cathedral where the showdown begins. The scene in which Neptune escapes a trap and tries to save Uranus who has a gun pointed to her heart is fantastically drawn. What is unique about this episode compared to other episodes is that the main focus is on Uranus and Neptune but also the structure differs. Rather than delving straight into the action, the first half is more of a character study into how Uranus and Neptune are outside of the Senshi. It’s a rare insight into their relationship that is slower paced and then the second half deals with that fast paced action sequence in the cathedral.
So that’s my episode ranking! As you can see, none of my favourite episodes are from Sailor Moon SuperS. It is my least favourite season due to its focus on Chibiusa and the absence of the Outer Senshi but there are a few good episodes in there, particularly “Mirrors on Dreams: The Amazon’s Last Stage”. I think the show thrives when it explores those moments of hopelessness and showing the characters pushing themselves past their limits. Overall, Sailor Moon S is my favourite season because it pushes the envelope with the introduction of Sailor Neptune and Uranus as well as seeing Usagi mature.
What do you think of my choices? Which Sailor Moon episode is your favourite? Let me know in the comments below!
It’s hard not to think about Hayao Miyazaki when choosing what anime film to watch. Known as one of the founders of the Japanese animation powerhouse Studio Ghibli, Miyazaki has established a name among critics and audiences alike as an important figure in helping Japanese cinema reach a global audience with films that are suitable for all ages. So far, Studio Ghibli has only won one film in the Best Animated Feature category which is for Miyazaki’s masterpiece Spirited Away (2001) which, in my opinion, remains the best overall winner in this category. I do think there are times when a Ghibli production should have walked away with the award but sadly, releases directly from Disney Studios tend to dominate the category almost every year.
Ghibli is reliable and consistent, bringing out films that challenge our perceptions on the society we live in by incorporating more mature issues such as loss, mankind’s treatment of nature and identity. There are other directors who have also helped to bring Ghibli the reputation it has today such as Isao Takahata who I will also be writing a separate ranking for but in the meantime, let’s delve into the films of the one and only Hayao Miyazaki.
Here is a mini write up for each in chronological order followed by my ranking at the end of the article:
The Castle of Cagliostro (1979)
Miyazaki’s debut comes in the form of this action packed adventure based on the Lupin III manga series following thief Lupin and his partner Jigen after they successfully rob the Monte Carlo Casino only to find that the money is counterfeit. They travel to Cagliostro, the rumoured source of the counterfeit enterprise in a bid to put an end to the ordeal. The film is credited with being an inspiration to the likes of Raiders of the Lost Ark and The Great Mouse Detective. It’s clearly not completely controlled by Miyazaki himself as it was made before Ghibli’s inception but there are some signature Miyazaki traits that are noticable in hindsight such as the exaggerated expressions and the mix of humour and drama. It’s a faster-paced film than the usual Miyazaki action films but it doesn’t feel rushed. Lupin is a great character and the writing ensures the audience is gripped. Another highlight in this film is the score by Yuji Ohno which has Pink Panther vibes and really helps to elevate the film-watching experience. I think that this film marks a very strong start to what was evidently the beginning of one of the most exciting film careers in Japanese cinema history.
Nausicaä of the Valley of the Wind (1984)
The first film created by the founders of Studio Ghibli comes in the form of this brilliant dystopic epic set in a world where the Toxic Jungle, a forest filled with giant, poisonous insects threatens to eliminate the last of the human race. Though released before Ghibli was officially founded, Nausicaä of the Valley of the Wind is commonly considered a Ghibli and has been re-released under the Ghibli banner. The film follows the titular character as she strives to find a way for the insects and humans to co-exist. Based on the manga series of the same name by Miyazaki, who also adapted it into a screenplay, Nausicaä isn’t afraid to delve into deep issues and question its younger audience. Focusing on the themes of mankind vs nature which would prove to be an underlying topic in subsequent Miyazaki features, the film is also unafraid to showcase loss and fractured relationships. It’s also refreshing to see a female protagonist whose strength is never questioned and is accepted for what it is, another trait that Miyazaki showcases in each of his Ghibli produced films.
Castle in the Sky (1986)
The first official feature to be released under the Studio Ghibli is the action-adventure Castle in the Sky. The film follows Pazu, a young boy who works in the mine of his local village who comes across a girl, Sheeta, who floats down from the sky. They are soon chased by pirates and government agents in a bid to track down the secret locating the mysterious floating island, Laputa, that Sheeta may hold the key to find. I have written a fuller review on this film that you can read here but it is truly a dazzling achievement. The scope and detail in the animation is remarkable and the score by Joe Hisaishi feels timeless. Although it is not as popular as Miyazaki’s later films, I think that Castle in the Sky is such a thrilling and impactful film that has a lot to say on mankind’s relationship with nature, the importance of the environment and people’s relationships with each other. Both protagonists work together to find a peaceful solution against the people who want to use Laputa and its materials for weaponary and world domination.
My Neighbor Totoro (1988)
Arguably the most iconic Studio Ghibli film, My Neighbor Totoro follows sisters Mei and Satsuki as they move into an old house with their father so they can be closer to their mother who is recovering in hospital from a long-term illness. The two girls eventually encounter an array of spirits, including one that lives in the nearby forest who Mei names Totoro and the enigmatic Catbus that provides transport for the spirits. It’s a wonderful film that provides the perfect introduction for younger children to Studio Ghibli. Unlike its predecessors, My Neighbor Totoro is a lot more innocent and childlike in its design and message. This doesn’t prevent it from being a brilliant film, however, as it does a great job on touching on family dynamics, childhood and loss. It has a lighter feel and very striking design, particularly the Catbus who conveys the tone of the film without even saying anything. What is brilliant about Miyazaki’s world is how he integrates traditional Japanese folklore with his own imagination and artistry and My Neighbor Totoro is a beautiful example of this.
Kiki’s Delivery Service (1989)
Following on his successful streak, Miyazaki brings another film geared towards younger children in this lovely tale about a younger witch, Kiki, who sets off to find out what she wants to do with her life. Accompanied by her cat Jiji, Kiki is fascinated by the normal human world and understandably finds it hard to fit in as she is not like them. The film is all about understanding accepting our differences and how we can use them to the our advantage. Kiki is a great protagonist for the younger demographic as she is a strong female who is flawed but she works on those flaws. She is a well-rounded character and it showcases Miyazaki’s strength in being able to create characters that audiences of all age can relate to on some level. It’s not the strongest installment in Miyazaki’s filmography but that doesn’t mean it is a bad film at all. Miyazaki’s work is of such high calibre that it just misses out on the top tier of films for me but it is still an absolute joy to watch.
Porco Rosso (1992)
The last film Miyazaki to be made before he took his first hiatus is a more detailed look into the filmmakers interest with aircraft. Porco Rosso follows the titular character who was a human but was cursed and is now a pig who works as a pilot bounty hunter who catches pirates in the Adriatic Sea. It’s a fun-filled adventure that has inklings of Castle in the Sky with the over the top pirates and allows Miyazaki to go deep on his own family heritage of working in aircraft. Joe Hisaishi’s score is fantastic as always and strikes the right upbeat tone that the film has. For me the film’s highlight comes in the scene in which Rosso sees his dead friends flying in the sky in his own version of heaven. It’s a fantastic scene that lifts the whole standard of the film. It is my least favourite Miyazaki film as it does have some flaws that I cannot overlook particularly the treatment of Fio, a teenage woman who aspires to engineer and make planes. A few jokes and quips made by the pirates are thrown her way that I feel are inappropriate for the younger audience. Fio herself is strongly written and is a brilliantly resilient young woman who is unfazed by working in a strongly male-dominated industry but the comments made by other characters could have been removed and still maintain the toxic masculine environment that Miyazaki was wanting to portray.
Princess Mononoke (1997)
Miyazaki returned after 5 years to make this brilliant epic based on traditional Japanese folklore and spirits. Princess Mononoke is fable on mankind’s takeover of nature and the subsequent consequences that this has. Following Eastern Prince Ashitaka who is cursed by a giant boar god who he kills, he must venture West to Irontown, a place filled with revolutionary industrial technology that threatens to takeover the forest by mining the sources underground. On arrival, he comes across San, a human girl raised by the Wolf gods who violently attacks and attempts to kill the leader of Irontown, Lady Eboshi, any chance she can. The film is by far Miyazaki’s most violent and graphic film thanks to its abundance of blood and graphic injury from the offset. Miyazaki always has a large scope in his imagination but Princess Mononoke has such a richness in detail that I think brings it to another tier. From the larger than life forest spirits to Joe Hisaishi’s spectacular score which is my favourite soundtrack from any Studio Ghibli film. I have written a longer review that you can read here. Despite its Medieval Japanese setting, there is a timelessness in the message that Miyazaki it wanting to convey and I think that that is why it resonates with so many people.
Spirited Away (2001)
The film that finally gave Miyazaki a long-awaited Oscar, Spirited Away is usaully the go-to film that beginners to Ghibli go for and with good reason. Following Chihiro, a young girl forced to move away with her parents and is sad to leave her friends, Spirited Away sees the family accidentally trespass on the land of the spirits. After her parents are turned into pigs, Chihiro must work in the Bathhouse while she figures out a way to get her parents back and return home. This film is nothing short of a masterpiece between the wide array of memorable characters as we venture in the spirit world including Haku, a young man who befriends Chihiro and No-Face, a mysterious spirit who suddenly appears and causes mayhem. Everything about it is iconic and it really is a beautiful film to watch. I have done a longer review which you can read here but words really don’t do this film justice.
Howl’s Moving Castle (2004)
Probably the most accessible Miyazaki film storywise, Howl’s Moving Castle is based on the best-selling book by Diana Wynn Jones and follows SOphie, a young woman discontent with her appearance who is cursed by the Witch of the Waste and turned into an old woman. She is then picked up by the mysterious Moving Castle and agrees to work as a cleaning lady for wizard Howl. The film is gloriously magical and is filled with whimiscal design which has made it a favourite amongst fans. The Wales-inspired landscapes are beautiful and vast and some maintain a very high level of detail that remains captivating long after the first viewing. This world that Sophie lives in differs to that of Howl, who longs for beauty and perfection in a world ridden with darkness and chaos. He refuses to take part in the war that is tearing the country apart and provides a bleak backdrop to the natural beauty where the story takes place. Hisaishi’s score is wonderful as always with the main theme waltz reminiscent of a merry-go-round piece. What Miyazaki does so well that he incorporates into this film particularly is showing how blurred the lines are between good and evil.
Ponyo (2008)
After his second hiatus, Miyazaki returns with another film geared towards the younger audience that follows Brunhilde, a goldfish who lives in the sea with her father and sisters, who escapes and is captured in a glass jar by a young human boy called Sōsuke. Brunhilde develops a desire to become human and changes her name to Ponyo after she is accidentally fed blood after Sōsuke shatters the jar which cuts him. Based on The Little Mermaid by Hans Christian Anderson, Ponyo is a less traditional retelling of the fairytale but still maintains Miyazaki’s vision and charm irregardless. It is an adorable film about friendship and love and despite there being hints towards a negative shift in the balance of nature due to Ponyo’s wishes, it still remains upbeat. Despite her young age, Ponyo is a strong-willed character who knows that she is out of place at the start but doesn’t understand why and makes it her mission to discover where she belongs.
The Wind Rises (2013)
The lastest Miyazaki feature to be released is absolutely astounding and comes in the form of The Wind Rises, which follows protagonist Jiro Horikoshi, an aircraft designer who works for Mitsubishi during World War II. Based on the manga by Miyazaki, it clearly is a project that the director is passionate about and I think this is emphasised by his realistic approach and design. The film tells the story of an aspiring pilot who eventually becomes an aircraft designer due to his poor eyesight and shows him falling in love with a young woman he meets. The Wind Rises is absolutely beautiful and everything about it from its writing and character design to the score by Hisaishi is flawless. Like most of the other Studio Ghibli films released since the inception of the Best Animated feature Award at the Oscars, this was nominated and it expectedly lost to Frozen but I personally would have given my note to this film because the passion that is conveyed goes beyond Miyazaki’s previous projects.
Unlike a lot of directors, there aren’t as many films that Miyazaki has directed in his 40 year career but that is because creating his films is time-consuming due to his insistence that they stick to hand-drawing their images. In the last 3 years, only 36 minutes have been created for his next feature How Do You Live? which Miyazaki has advised is his last film before retiring for the third (or fourth?) time. The calibre of his films is so high so even the ones that rank a bit lower are so strong in quality. Miyazaki has a reputation that many film-makers and lovers dream of and I have seen these films multiple times and will undoubtedly watch them again and again.
Anywho, here is my final ranking:
1) Castle in the Sky (1986)
2) The Wind Rises (2013)
3) Princess Mononoke (1997)
4) Spirited Away (2001)
5) Nausicaä of the Valley of the Wind (1984)
6) Howl’s Moving Castle (2004)
7) Ponyo (2010)
8)My Neighbor Totoro (1988)
9) The Castle of Cagliostro(1979)
10) Kiki’s Delivery Service (1989)
11) Porco Rosso (1992)
So there we have it! What do you think of my list? Which Miyazaki film is your favourite? Let me know in the comments below!
Another day, another Ghibli review. Hayao Miyazaki’s Princess Mononoke is a Medieval set fantasy in the ancient land of folklore and Gods and the battle between Mankind and the spirits in the forest. The film follows Prince Ashitaka who is cursed by a dying boar and must venture to the West to find the reasons for his curse. He ventures to Irontown where the residents, led by the greedy Lady Eboshi, are on a mission to rid the forest of its Gods in order to mine up the iron and invade surrounding areas. In between these two parties is a young woman, San (also know as the titular character), who lives with the wolf Gods in the forest and whose mission is to kill Eboshi and put an end to Irontown’s plot to rid the world of the animal Gods. Ashitaka is immediately taken by San and sides with her to put an end to Eboshi while also finding out the meaning of his curse. The film is more violent than most Ghibli films and doesn’t shy away from showing rotting corpses, dismembered limbs and lots of blood but the film needs this to show the corruption within man’s unnecessary fight with nature. The violence that is perpetuated upon the forest and seeing the animal’s rebellion is heartbreaking. Miyazaki’s brilliant vision of contrasting palettes makes this a true fantasy epic as we venture from the deep jewel colours of natures filled with deep greens and blue hues to the abnormal reds and oranges that flare from the furnaces at Irontown.
Princess Mononoke features some of the best known characters in the Ghibli canon from San, the titular character to the various creatures that populate the forest, particularly the adorable Kodama, tiny spirits that guide the way through the forest. In true Ghibli fashion, San is a posterchild for strong female characters. From her first appearance sucking the bullet out of the wolf God and spitting the blood into the water, San doesn’t care how she looks. She doesn’t aim to please anyone and isn’t there to be sexualised or sought after. Ashitaka is drawn to San but San keeps him at arm’s length. She wants to help him but does not care for any romance. San’s reluctance to identify as human makes it easy for the audience to see her as inhuman. Her seemingly superhuman strength and speed makes her seem otherworldly. On the other side of the conflict, Lady Eboshi is a deeply conflict character who isn’t just a regular villain. In true Miyazaki fashion, she has her own understandable methods and a genuine desire to protect her people but she is ultimately on the wrong side of history in this instance. Eboshi is seen as a woman of civility and forward-thinking whereas the people portray San as an animal and treat her like the animals that she lives with. They do not hesitate in their attempts to kill her even though Eboshi confides her sympathies for San to Ashitaka.
The animation and style from this film is quintessential Ghibli. Drawing in on traditional techniques and meshing with this folklore and a modern feel, Princess Mononoke showcases the best of Ghibli and Miyazaki living up to his usual standard. The combination of nature and industrial is deeply satisfying and you are instantly transported to a different time. Despite being sets centuries ago, the technology feels new and unique. The designs of the spirit god’s, particularly the Forest God bring that sense of command and attention that such a character would demand from its audience. One of the best sequences has to include the opening encounter with the boar which is both grotesque and terrifying, setting the tone for the film. Contrast this with later scenes where the forest comes to life to make way for the Forest God.
If you have read my previous Ghibli related posts, you know that I absolutely love the composing genius that is Joe Hisaishi. A longtime Miyazaki collaborator, Ghibli films would not be the same were it not for Hisaishi’s contribution. This is mostly felt in Princess Mononoke, the soundtrack which I listen to everyday. It truly holds its own as an epic in its own right and brings the film’s overall status to epic proportions. Mixing traditional Japanese sounds with fantastical elements, we are thrown into the conflict between man and nature through Hisaishi’s genius use of pace and crescendo. The ending track titled “The Legend of Ashitaka” is easily one of my favourite musical pieces from any film. The piece feels as though it takes you through the emotional span of the entire film in its five minute running time. Starting off quiet and slow and then building with brass and becoming a loud and brash piece showing the tilt in man’s favour. I love how Hisaishi has his own style like Miyazaki and it honestly feels like you can’t have one without the other.
Princess Mononoke is usually ranked among the favourites and has been a popular choice since its release. It is a film that has mass appeal despite its maturity and content. There is a lot of detail to take in within every scene and such a brilliant use of locations and spaces. The era that it is set in is real but the addition of the Gods allows the creative team to think outside the box and bring their originality to the designs. Even the designs of animals such as the monkeys and the boars have an otherworldly feel to them. They are inspired by animals that exist but they don’t exist in the real world. This is something that Ghibli does best in that it blurs the line between real and fantasy, allowing the imagination to run wild. The film isn’t afraid to delve deep into serious issues with its overwhelming message on environmental destruction, the manifestation of greed in man and the corruption that it builds and the longing for power.
What do you think of Princess Mononoke? Let me know in the comments below!
One of the big ones to come out of Studio Ghibli and with good reason, Spirited Away follows protagonist Chihiro who finds herself in the spirit world where her parents have been turned into pigs. Chihiro must work under the ruthless Yubaba in a bathhouse for spirits where she is forced to take care of the visiting spirits, including the mysterious No-Face. With the help of a young boy called Haku, Chihiro navigates her way around the land of spirits and eventually learns more about herself and what she is capable of in order to return to the human world with her parents. This is commonly seen as Miyazaki’s opus as it brought international acclaim the studio hadn’t experienced before as well as a slew of awards such as the Academy Award for Best Animated Feature. The story of identity and place is one that resonated with the critical commercial audiences and has made Spirited Away an instant classic. In true Miyazaki style, the film is enjoyable for all ages and can be watched time and time again and still be just as rewarding. The film has you laughing, crying and grimacing as we encounter various characters and are thrust into the unknown.
Ten year old Chihiro is forced to move away as her dad starts a new job. Unhappy about the move, we are first introduced to her as she sulks in the car with a bouquet gifted by her classmates. Chihiro is soon forced to think beyond her years to navigate a way out of the spirit world with her parents. She is a character who finds her own strength and relies on herself to figure this out. On entering the Bathhouse, Chihiro is overwhelmed by all of the creatures but is soon tasked with carrying out there needs. The Stink Spirit is the breakthrough moment as Chihiro passes the test and understands what the spirit needs. Anothe protagonist is dragon/river spirit Haku, who initially takes form as a boy Chihiro’s age. Haku immediately sees Chihiro and helps disguise her from other spirits before she is given permission to reside in the spirit world. At the top of the bathhouse lives Yubaba, a witch who runs the facilities. After failing Chihiro off, she strips Chihiro off her name and gives her the identity Sen. Soon enough Chihiro becomes Sen and forgets who she is as she is enveloped in the spirit world. By losing herself, she loses sight of the mission to get home. Yubaba is a character who has no motive to act for or against Chihiro and simply allows Chihiro to work in the bathhouse while she goes on her journey of self-discovery.
The animation is spectacular is on a level that hasn’t been seen before and not really since (The Tale of the Princess Kaguya being another great example). A beautiful mix of Japanese folklore and fantasy, Spirited Away makes use of the scenery and locations. By setting the film in a fantasy universe, it gives the animation team an unlimited scope in design and allows Miyazaki to create a world from scratch. Not only is Miyazaki creating his own version of the spirit world but it also offering an entirely unique perspective on various aspects of Japanese culture. The whole film is crammed full of amazing sequences but among the most iconic in Ghibli history has to be Chihiro running through the garden paths surrounded by rose bushes is simple yet dreamy. It’s only a short moment but the angles and colours are perfect as Chihiro anticipates seeing her parents. Other brilliantly crafted scenes include the food feast where Chihiro’s parents are turned into pigs. The satisfying layout of the food contrasts with the disgusting design for both her parents when they’re eating the food and consequently the design of the pigs themselves. The detail of the creases in the skin and the sweat is disgusting but then Ghibli isn’t a studio that glosses over the grotesque.
I can’t review a Ghibli film and not discuss the music. The score from Joe Hisaishi is instantly his most recognisable to date, spanning thousands of covers on YouTube and being a prominent inclusion in his concerts. The soundtrack is nothing less than stunning and totally deserving of its praise. The opening number and the main track associated with the film, “One Summer’s Day”, contains a mix of melancholy and hope. It’s slowness reflects the sadness that Chihiro feels about leaving her old life behind but it’s still uplifting and hopeful at the same time. The piece is soft and pretty and immediately brings you into Chihiro’s world. As soon as we enter the spirit world, the score completely shifts. The peaceful slowness is soon replaced with harsh brass and a quickened pace as Chihiro becomes an outsider in a new place and is forced to hide. Tracks such as “The Dragon Boy” are filled with the grandeur that lives up to Spirited Away’s epic feel. Hisaishi’s score helps to transport the audience into Miyazaki’s universe.
A film like Spirited Away doesn’t come often with direction and writing that is filled with such love and passion for storytelling. Miyazaki outdid himself with this one and it’s a film that will go down in history. There are an array of supporting characters who all bring significance, even if it’s a small payoff such as Yubaba’s henchmen or her baby. You could watch this film a million times and still find something new. The film opens itself up for interpretation and analysis and has been widely discussed as such. Scenes that I find particularly striking include the attack on Haku as he thrashes into Chihiro’s dorm bloodied and weak and the scene in which Chihiro is sat on the train. The latter is so still and peaceful that it brings a sigh of relief and calm in a film that has brought so much chaos.
Do you love Spirited Away as much as I do? Let me know in the comments below!
Hayao Miyazaki’s 1986 family action film, Castle in the Sky was the first film made under the Studio Ghibli brand (Nausicaä of the Valley of the Wind was made before Ghibli’s inception although it is now included in the Ghibli catalogue). The film follows young orphan Pazu who catches a girl, Sheeta, after she falls from the sky and their mission to find the mysterious floating island of Laputa. Running up against pirates, the army and government, Pazu and Sheeta are thrust into a world full of corruption, greed and the abuse of nature. The world is crumbling thanks to the adults and it takes their childlike view to right the wrongs. On one level, the film is an engaging action movie that features extensive chase scenes and a variety of exciting locations. On a deeper level, the film can be explored as an analytical portrayal of mankind’s war on nature and the importance of working with nature and not fighting it.
What Ghibli achieves brilliantly in all of its films is that the films are never patronising to the audience. There is always something to think about. Even the child-friendly films like My Neighbor Totoro include undercurrent themes of death and loss. With Castle in the Sky, we are following two protagonists who don’t have families of their own but are there for each other throughout. That in itself is a hard fact to swallow as the characters are barely 10 years old and yet they survive with no complaints in this corrupt universe. When thinking of the most iconic Ghibli films, it’s easy to think of the likes of My Neighbour Totoro, Whisper of the Heart and of course the Oscar-winning Spirited Away, but I think somewhere Castle in the Sky has been lost in the conversation. There is something about this film that centres of the childlike vision that Ghibli likes to explore but blurs the lines by incorporating flawed heros and insightful dialogue. Every time I watch this film, I feel equally inspired and affected as the passion behind this film is impossible to ignore.
Aside from the two protagonists, there are several parties who aim to find Laputa first. A group of pirates led by matriarch Captain Dola who is a fantastic character. The only female on the ship that includes her husband and multiple sons, Dola smashes the patriarchy and in many ways is a more fearing character than the actual villains. The pirates’ encounter with Pazu and Sheeta shows that they are not your typical blood and guts pirates as the film want you to believe but show that they do have a heart. Although I do prefer to watch the Japanese original with subtitles, I do have to mention the voicework of Cloris Leachman in the English dub. She becomes Dola and gives the character this commanding quality with an undertone of softness that makes the shift in storyline believable. On the other hand, we have Muska, a government agent who is consumed by the idea of power that he is willing to betray all those who work for him to climb to the top. Initially, Muska seems rational and good-natured but his plans are soon revealed as he plans to use Laputa as a military weapon of destruction.
The animation is spectacular and sets the standards for Ghibli films of the future. Incorporating a steampunk aesthetic with classic anime styles, Castle in the Sky becomes an oxymoron in scenery. It is so clearly an alternate universe but not wholly outlandish. The world the film inhabits could be described as a grounded fantasy. This could be because the issues explored in the film are very real issues but through the metaphor of Laputa, a physically and figuratively detached land that represents a country before military invasion. One recurring feature in Ghibli films is the satisfying attention to detail such as the intricate blades of grass, beautiful colour mixtures and palettes and food that makes your mouth water. There are so many beautiful aspects in this film but the most stunning creation has to be the robot and particularly, the robot who lives among the natural world within Laputa. It’s a contrast that flows together seamlessly and has formed one of Ghibli’s most recognisable icons.
My favourite part of any Ghibli film is by far the score and in particular, the scores composed by Joe Hisaishi. I would class Hisaishi as an unsung hero in Ghibli history as his music encompass the magical qualities that the films possess. The music for Castle in the Sky is no different and in fact ranks highly for my all-time favourite scores. Each character has their own unique piece of music and even the crystal has a distinctive piano run that sounds like a twinkling star. Every piece is beautifully crafted but for me, the highlight of this tremendous achievement is the track that follows the Forgotten Robot when Pazu and Sheeta arrive at Laputa. The track is haunting yet full of hope and keeps qualities of the Laputian themed music that has been featured up this point. In the dub, there were improvements and additional tracks included that elevate the experience even more although the original Japanese is still just as beautiful. The music overall is classic and traditional in style until we get to moments of conflict were synthesizers are included and bring a more fantastical element into the mix. The soundtrack reflects the themes of the film.
Picking a highlight scene is difficult for this film because I find it so captivating throughout but in a situation where I am forced to choose, it would be Pazu and Sheeta’s entry into Laputa. Entering the vortex in their tiny glider, they venture into the eye of the hurricane and are forced to endure heavy thunder and lightning. It’s an exhilarating scene to watch as the traditional scenery is stripped away and makes way for a black background with flashes of purples and white. The audience is taken to a different realm and it is reflected in the quick change in pacing, music and perspective as the glider becomes even smaller among giant lightning strikes. It’s a brilliant scene that is then beautifully contrasted with the sudden break as they float down to Laputa and everything seems back to normal. The angry and defensive nature of the weather is a representation of Laputa hiding itself behind the mask and reputation it has gained as a weapon.
What do you think of Castle in the Sky? Which Ghibli film is your favourite? Let me know in the comments below!
