The Boy and the Heron

Image credit: imdb

The world of art and content creation is dynamic, meaning it changes all the time to suit the current attitudes of society, whilst also being static, meaning parts of it stay the same. In film, this is usually obvious in changing artistic design, filmic techniques, and technological enhancements showing the every-changing nature of art, while genre and some stylistic choices made by the director remind the audience who’s work they are enjoying and offering them the cinematic experience that they have come to expect from said artist. Whenever we head into a dark cinema, we are armed with the preconceived knowledge of what sort of experience we are going to have, simply by choosing to see a film because of its genre or director. This then gives us great comfort and satisfaction when that experience is realised. I had this experience yesterday when I treated myself to a movie day and went and saw Hayao Miyazaki’s The Boy and the Heron.

The film follows young Mahito who loses his mother in a hospital fire and evacuates to the country with his father during the Pacific War. His father marries his aunt, Natsuko, and while Mahito is distant from the woman at first, he develops a bond with her as she tells him stories from her past and protects him from the strange happenings that occur when a grey heron begins talking to him, promising to reunite him with his mother. When ill Natsuko disappears into the forest, Mahito goes in search of her and finds himself transported to another world full of wonder and danger. He and the heron must work together if they are to find Natsuko and return safely to their own world.

The Boy and the Heron is a semi-autobiographical, coming-of-age film that explores complex themes such as redemption, acceptance, learning to see beyond oneself in the world, and the power/burden of creation. Mahito’s journey is both physical and emotional, as he begins the film hurt and full of self-pity, but then grows to see that the world stretches farther than his own fingertips and his problems are not the greatest of woes, travelling through a strange world that seems to be in conflict with itself and falling apart.

The animation is another triumph; absolutely beautiful, mesmerising, and dramatic from the opening scene where we are placed within the flames of war, to the calm and picturesque Japanese countryside, to the captivating other-realm where young girls create fire and parakeets march with blades behind their backs. The animation is what makes Miyazaki’s films and many from Studio Ghibli so wonderful because, despite the fantastical aspect, they are truly transportive works of art that gently guide viewers through beautiful and captivating biomes with light and sound that makes it feel as though you are actually there, lying in the soft grass feeling the wind place over your face and listening to the soft burble of a nearby stream. This transportive power is why I get so excited when I learn there is a new feature coming from Miyazaki, the experience is always wonderful and I have never been disappointed.

Image credit: dexerto.com

The Boy and the Heron is a stunning piece of cinema filled with action, adventure, bravery, magic, and wonder. I would certainly recommend you treat yourself and see it in cinemas.

Director: Hayao Miyazaki, 2023

Cast: Soma Santoki, Masaki Suda, Ko Shibasaki, Aimyon, Yohsino Kimura, Takuya Kimura, Keiko Takeshita, Jun Fubuki, Sawako Agawa, Karen Takizawa, Shinobu Otake, Jun Kunimura, Kaoru Kobayashi, & Shohei Hino

Language: Japanese. An English dubbed version is available featuring the voice talents of Christian Bale, Wilem Dafoe, Dave Bautista, Gemma Chan, Mark Hamill, Florence Pugh, & Robert Pattinson