If this tale of fantastic worlds, trickster birds, and bone-deep grief is indeed the anime legend’s final movie, he’s going out on a high note
Cinema is why we’re here at festivals like TIFF, suffering the slings and arrows of shut-outs and long lines and King Street’s critical-mass mobs in front of the venues, in order to celebrate and/or chase the high of great filmmaking. And it is virtually impossible to overstate the influence that both Miyazaki and Studio Ghibli, the production company he cofounded in 1985, have had on moviemakers, moviegoers, and the medium in general.
”the animator’s 12th feature and his inspiration for coming out of retirement, it’s hard not to agree withfilmmaker. A fable-like story of a tween named Mahito who, like many of Miyazaki’s resourceful and endlessly curious youngsters, must go on a hero’s journey and reckon with the adult world, it’s a typical cinematic phantasmagoria of surreal imagery, cuddly-to-creepy creatures, excitement, sorrow, space, silence, and emotional currents that run leagues deep.
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