The legendary Hayao Miyazaki returns from retirement once again to present The Boy and the Heron, a rather deeply personal and surreal film that hits all the high-notes Studio Ghibli is renowned for. It has easily some of the best animation from the studio to date, incorporating modern styles and techniques without compromising any of the charm or quality they’ve built their legacy on. Speaking of legacy, it becomes quite clear after sitting with the film for a while that this is a story Miyazaki truly felt compelled to tell. Part apology, part farewell, part encouragement for future generations; as a movie everything felt a bit phantasmagorical and rambling, like a trip down the rabbit hole into Wonderland. Our protagonist is pushed and prodded forward into the adventure whether he wants to or not, forced to simply marvel aghast at the bizarre beauty of it all until the story abruptly ends for both him and the audience. As a message, however, the film feels bittersweet, like a sincere acknowledgement of Miyazaki’s own regrets and failings. Whether or not he stays retired again for the umpteenth time, The Boy and the Heron heralds a remarkable comeback for the director, a stunning experience of the best traditional animation in recent memory, backed by another awe-inspiring score by his longtime collaborator Joe Hisaishi. Easily a 9/10 for anyone looking to be reminded of what our medium is capable of.
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