Interest Stacks

The first movie of the creative staff was made before they would be officially branded as "Ghibli" and it's source material was the manga of Hayao Miyazaki himself, the acclaimed filmmaker who's an iconic figure in the industry and one of the most important people in the studio's portfolio to this day.

The story in Nausicaä is one of turmoil and hardships - in the unforseen future, the world has fallen into a post apocalyptic state, in which nature has reclaimed a majority of the world and the new ecosystem sprawled with dense forests is filled with mutated and hostile insects, making any stride through it deadly. But despite that, those remaining of the humankind are still in conflict with itself and the flames of war still scar every person's life.

Our main heroine, Nausicaä, is a princess of one of the settlements and she lives as she studies and coexists with the dangerous hazards of the current flora and fauna, trying to find a way to reverse and heal the lands of the corrosive infections. But not everyone has the noble and concerned mindset that she does, and fueled by the never changing human nature, another war breaks loose.

This is a story about environmentalism, as well as how our species reacts and adapts to hazardous and volatile circumstances. In this tale, the many faces of humanity are shown - depicting cruelty, aggression, but also empathy and acceptance.

The next entry in their movies is one of adventure with a more lighthearted and inspirational mood.

In this industrial steampunk world a boy meets a girl that fell from the sky, holding on to her glowing medallion and descending slowly as she floats. The boy quickly assists the girl and from there the story of her origin and her magical appearance, as well as the towering mystical castle floating in the sky since time unknown, becomes intertwined.

The themes of freedom, companionship, and a sincere interest in how technological progress can help humanity but in the same way harm it's stability are integral parts of this movie. The cast and the townsfolk of this movie have a lot of their charm hidden beneath their rough exteriors, and it's part of what makes this adventure far more endearing and wholesome.

The concept that humankind, which proceeded to dig and transform the land and due to it's narrowmindedness forgotten to look up to and be inspired by the unrestricted skies, is one of the main visual motifs throughout the whole movie.

This movie from which the studio got it's mascot is a relaxed and joyful tale of a family, settling into their new home in the mountainous countryside.

In this wishful journey, we follow among the footsteps of our main protagonists as they venture and explore this small wonder of a world - the slightly run down house, full of oddities, the lush green fields, and the tranquil and mystical forests surrounding them, in which resides many friendly and welcoming forest creatures and entities.

In the freshness and the purity of the ancient grove, in it's infinite green hues and in it's quirky but friendly spirits, we see something magical and unforgettable. A personal design philosophy from Hayao Miyazaki - in every work he strives to present the special and the imaginative within the mundane, and that every day can be a fantastical journey with adventures within it, if we have the right mindset to look at it from the correct perspective and to use our vivid imagination throughout our lives.

Screened alongside My Neighbor Totoro, this movie (which is the first one directed by Isao Takahata, a gifted director within the studio and close friend of Miyazaki) is a polar opposite to the vibrant and magical tales found in Totoro. This is a difficult movie to stomach which shows in it's animated brilliance the unspeakable horrors of the Second World War, and two siblings who try their best to survive through these brutal and cruel times.

Unlike any other movie from this studio by far this story is mature, dark, and full of tragedy. It's a story which presents us a somber reflection of an agonizing part of history with it's gray, pale color palettes, minimalistic soundtrack and moments, in which we can savor the quietness and the disturbed thoughts of our young protagonists, who are unfit to struggle within this reality on their own.

The adults they meet are people in panic, full of spite and rage, who are far too concerned for their own safety rather than considering the sibling's misfortune. Albeit displaying them as harsh, it's an honest outlook of this time period in which countless people's fates were destroyed, families were torn down, and countless human lives were lost.

This movie is very untypical for the studio to this day - it's a feature which is devoid of the enveloping and typical magical flair that is staple for Ghibli, instead presenting us a harrowing and cruel story full of grief and hardship. But in the same way, it is a movie that carries the studio's heart. The attention given in depicting the sincere emotional turmoil and sorrow though the eyes of our protagonists is one that can make us reflect on the darkness that humankind is capable of causing on itself, and to make us feel genuine disgust of the inhumane grief and pain that every armed conflict has brought to our world.

The story of Kiki's Delivery Service is one that depicts the peaceful flow of life in a small coastal town, with it's charming rustic aesthetic, and people who provide a kind word and a smile to a weary soul. Within this idyllic place, our young heroine starts her training, as well as her exploration into the social aspects of her life.

With a mix of enthusiasm and curiosity, she meets people that are helpful and befriends others who are considerate of her worries and anxieties. At the same time, she realizes that nothing in life is constant or perfect. The main topic that this movie tackles is maturity and the importance of independence. In the same way, the friendships and connections one makes on their journey are invaluable and significant throughout their whole lives.

This is a story that presents the growth in ourselves as we move through life and how even random encounters shape our perceptions and understandings of our daily needs. In the same way the alluring charm of this small but thriving coastal town and it's inhabitants gives us a sense of nostalgia, it reminds us of the simple kindness towards each other forgotten in our everyday life.

Only Yesterday is one of the more peculiar movies from Ghibli. Directed by Isao Takahata, it's a work that is firmly situated in realism and there are no extraordinary occurrences or alluring magical escapades. Instead, this is a story about nostalgia and melancholia, as it follows our protagonist on her arduous quest of reconnecting herself amidst her childhood memories, making her hesitant about her current life's direction.

The theme of being detached from your inner self and being unable to recognize the person that you see in the mirror is relatable for people that transition from their juvenile age towards maturity. The world we see as children and the one we're bound to live in as adults are two places which often feel dissonant. On one hand it seems right to shift out from our youthful worldviews, but on the other hand, your core as a person is always nestled within. And along this conflict it's easy to feel lost with a desire to seek something that would validate and solidify your resolve once and for all. But realistically, that more than often never happens.

Within it's slow and contemplative tone, this movie shares a lot of thoughts about life itself, and by experiencing it you can see the insight and consideration that was put into it. It is certainly one of the most mature Ghibli titles to date, and it speaks volumes for anyone who can relate the main lead's struggles with their own, as well as their hesitance to thread through life's difficulties.

Porco Rosso is a movie in which the romantic idealism clashes with the looming and grim reality of the time period between the first and second World War. Our protagonist is a person who harbors both of these worldviews.

It's dualistic nature is apparent from the start, there's a lot of lighthearted silly humor and the fact itself that our main protagonist is presented as a pig is something very capricious and odd until the story progresses and unfolds.

Amidst the comedy though, there are a lot of connotations and subtle conversations which make stark contrast with the cheerful tone, underlying the end for the ages of freedom and peace, and the impeding inception of the facist regime in the Mediterranean. In the turmoil times, the symbols of order and peace shift with those of chaos and anarchy, and every person living through this age has to clash with the inevitable choice; to obtain their freedom for the price of their comfort or be subjugated by the heartless reign of terror.


Despite not being explicitly stated, this is the main pathos of this work. Within it, like a modern version of Don Quixote, our main protagonist boldly proves his point. In the same sense, that is exactly what makes him special - he is a person who is well aware of the somber reality and part of him is drawn to the past, all while concealing it with his vigorous bravado. His image is of a rowdy and jaded person, who underneath has a kind and considerate heart. Within his story one can see a plethora of emotions and his presence is a symbol of freedom as well as one of perseverance.

The story of this movie presents us one grounded, relaxing romantic tale from the high school years. In it, the protagonist tries to adapt to his new surroundings but while doing so, he finds a girl who makes his heart flutter with the first heartbeats of love.

Despite being a story about drama and romance it's presented in a slow and calm pace. The momentum of the plot feels more akin to a slice of life story, which gives the experience it's own flavor, since most stories about high school in general tend to accentuate over the intense melodrama and the overreactions. The impeccable style of animation from Ghibli is evident, yet the character design is not typical for their work.

As the name suggests, Ocean Waves is a tale about the ebbs and flows in the hearts of our characters, and their unsteady but certain in what they desire feelings. It's a tale about the feelings from one's youth, conflicted and desperate in wanting a connection to the people you care for no matter the cost.

Ponpoko is a movie which tackles a couple of sociological and cultural questions, as well as the concept of environmentalism. Directed by Takahata, this movie uses Japanese folklore and satire towards the everyday average Japanese person to discuss a problem that is rather dire and important from a societal standpoint.

Despite it's humor and goofy imagery, this movie's theme is about the slow and steady decline of the cultural traditions in favor of the more productive and reliant newer improvements, but instead of working with cliche words like "good" and "evil", the film is subtle about it's statements. The theme of the minority unable to blend in the newer social environment, therefore meaning that it will be eventually erased, is a somber statement and a plea to reconsider the blind rush towards the modern and trendy. The progress towards the better future is always lead by the fall of the old hierarchy and order, but then again, understanding the more conservative traditions is not without it's meaning.

This story is one that can resonate with any society and it's development, but at the same time, the film has iconography and connotations that would be appreciated by people who are proficient in Japanese culture. Despite presenting a struggle, the movie's message is about the need of adaptation and consideration of the current day and time, rather than delving on the past circumstances.

This is an odd entry for Ghibli, since this is the first and only music video they've produced for a song. Directed by Hayao Miyazaki, it was a project he deliberately took to "distract him", since he had writer's block while working on Princess Mononoke.

The video depicts a post-apocalyptic world in which nature is systematically being destroyed in favor of the rampant over-industrialization. In this setting, two policemen are attempting to save an angel who's abused and held captive. Over multiple tries and attempts they manage to save her. The video's narrative is non-linear and in it the line between time is blurred over the emotion that the animation tries to convey, promoting a feeling of freedom and expressing desire for a change in society.

Despite being one of their shortest projects in it's runtime (around 5 minutes) it's a work that rightfully bears the stamp of perfection that the studio takes pride in. It's outstanding animation, evocative imagery, and vivid color palettes present us one interesting yet flawed world, full of wonder and yet stifled by malice.

This is a story depicting a grounded teenage romance with all of it's subtle moments of hesitation, anxiety, and naive bliss that come with it. The calming full of beauty imagery that surround this movie easily makes you realize and appreciate the small and simple details of our lives that we gloss over, but can carry so much beauty and significance.

The art in this movie imbues a sense of fluidity and cohesiveness, every character movement is full of freedom and expressiveness and the smallest details can speak a lot to the viewer. Another important point of the narrative is that the characters have well defined psychology that reflects the way their teenage minds works, and seeing this in action is something very endearing. The figurine of the dashing cat gentleman was one of the reasons that the movie "The Cat Returns" even exists - it was meant to be an attraction for an entertainment park, which eventually grew out to be a feature length movie.

Despite lacking the magical worlds in which the usual Ghibli movies are depicted, Whisper of the Heart has the beauty and passion to present us a reality, seen through eyes full of love, which are not blind to their world's endless allure.

War. Hatred. Rage. Moral Ambiguity. Catharsis. These are some of the themes that Hayao Miyazaki is prone to express in his works and it's his protagonists that have to live through them all to reach the conclusion of their character arc. These particular aspects were essential to his first creation, the manga and the eventual movie for Nausicaä, so it's safe to say that they were an integral part of his mindset and are ones that he reflects on often. If the start of the exploration was set by Nausicaä, then it's refined mature form has to be Princess Mononoke - a work that is often considered as the famed director's artistic magnum opus and cultural landmark for Ghibli as a whole.

It's a movie that is a manifestation of life's principles themselves, depicting the endless strife of nature and humankind's place in it. Like a mirror from which the human spirit is reflected, we can peer deep inside into our hearts - filled with anger, moved by hatred, darkened by fear. Yet this heart is also open to embrace the pain of others, perceive the anguish in the opposition's eyes, and to mend the wounds from the countless futile battles that we wage against each other, fueled by our primal unexplored grief and anxiety.

The visuals in this work are at times soothing and at others - visceral. This is a story that doesn't shy away from violence, and is focused to refine and explore it in it's core - even if detestable, it is part of our existence. But from this, the desire to persevere and protect are reborn within us, parts that makes us benevolent and selfless, that fill our hearts with resolve to resist and reject the cruelty.

Born within the twilight of beauty and ugliness lies the soul of every being born in this life, and this masterpiece of a movie demands us to realize, accept, and reflect upon that.

This movie by Hisao Takahata at first glance is a simple story with an unorthodox method of telling itself. Instead of working on a central and solid conflict within it's writing, the director decided to present the various daily happenings within an ordinary Japanese family.

The four stories that are presented both show parts of the family in different light and we can perceive them as human by the end of the movie, rather than just characters with roles. The dreamlike, idyllic and easygoing atmosphere, and peculiar rounded and charming art direction brings to life parts of us that we might have forgotten, or even remind us why family values matter and are paramount in our lives.

As Ghibli eventually moved on from the hand drawn and cel animation, this was the first ever production that they made with the use of completely digital technology. As well as that, it brought the winds of change for the studio's animation department by creating the experimental and creative art style that was further used as an inspiration for Takahata's final movie project, The Tale of Princess Kaguya.

Spirited Away is a story that sounds familiar, but then again not quite so and within it's magical and enchanting world inhabited by Japanese youkai and otherworldly beings from the folk tales one can see a lot of our human vice and virtues.

We follow our juvenile protagonist and her journey and trials along this fantastical world, full of eccentricities and familiarity. The fact that she is all alone with hardly any friends, and surrounded by this alien environment proves to be quite a trial for her, but instead of breaking down she finds a ways to adapt and mold herself to fit within. The world she inhabits is an interesting mixture of traditional medieval Japanese aesthetics, intertwined within expressive esoteric and supernatural vistas.

This movie has a lot of themes, some more developed than others, but one of the main ones is the loss and attaining one's identity. There are times when we're affected by our glutton, greed and arrogance, which coulds our perception of ourselves and what we are. In times like these, remembering your name, your goals and your real self can be paramount for leaving the negative, and attaining the positive side of your character.

This is one vibrant, pretty, and relaxing movie in which the feline gentleman from Whispers of the Heart is one of the main protagonist, who guides our main heroine through the fantastical kingdom of cats.

The whole movie is one very lavish fairy tale, with bright palettes and with energizing, playful tone. Our heroine is also very upbeat and charming, moving through both hurdles and adventures with a smile. Almost as drawn from Alice of Wonderland, our bubbly heroine appears in a world of wonders, and inhabited by felines. With the help of the cat gentleman, she finds the courage within herself to move through and solve this fairy tale world's problems, and to escape to her own.

It's a movie that is simple in it's core and it is content with that. It certainly is one of the untypical Ghibli movies, but nonetheless it's small, colorful retreat for watchers of any ages. It is also the only movie that is is somewhat of a sequel, though it's more closely to a spinoff.

The story of this work is based on a novel, bearing the same name and written by the British author Diana Wynne Jones in 1986. Howl's Moving Castle is a movie from Hayao Miyazaki that likes to discuss the superficial and obvious, while to conceal the other important topics intentionally. It's a story that presents lavish vanity, while in the same time it disperses it over time to show the true face of the world and why that matters.

It's story is one that presents this topic in our characters, as well as the background and setting. Due to a spell, our young heroine is turned into an old lady, but that doesn't stop her from being initiative, mentally strong and dependable. In the same way, there is a lot more hidden between the beautiful golden locks and dashing smile of the prince-like Howl, which is one of the reason which the journey of our characters matters. The backdrop of this story is that the world is at war, lead both by machinery and magicians, and yet the common folk only sees and hears about the army's parades and their futile display of authority.

While this is one story that is spread around different directions and tries to do a lot, by which it stutters, it eventually is a tale about magic and the human warmth, in which the romance between the two protagonists helps them to find their own reasons to bring out their real selves.

Tales from Earthsea is loosely based on the series of novels from of Ursula K. Le Guin. Also this movie is the directorial debut of Hayao Miyazaki's son, Goro. It's straightforward plot is expressed through symbols akin to a high fantasy setting - dragons, magical swords and powerful mages, and yet they serve as vehicles rather the staples for this movie's story and what it wants to explore.

The movie starts with our protagonist, the young prince, driven to the verge of his sanity, committing patricide, murdering the all powerful and wise king of this country. It's a development that is rather shocking for a Ghibli movie, and yet profound, considering this is Goro's first personal project, and his chance to express himself within it. Living amidst the legendary heritage that the Miyazaki name can be both blessing and a curse and the protagonist's inner struggles are something that the young director reflected on.

Through it's runtime, the story explores the darkness within the human heart, the stifling corruption that we all bear, and the crushing nihilism of our meaningless existence. And yet again, amidst our inner fears, between the layers of our hardened shells that covers our frail hearts, there is light, and desire for redemption, and hope for finding a reason to exist, be it within our own selves, or by the genuine and heartfelt connection with others.

For this one, Hayao Miyazaki sends us again in the land of the childhood dreams and fantasies, with his tale about a magical goldfish that ends up exploring the world around her in all of it's emotions and forms.

The story of Ponyo is quite simple, and it does enjoys to take it's time and sidetrack here and there, but the movie's major merit is not it's narrative, but rather the feeling that it invokes upon watching. Every time when you feel that there's something dramatic that will happen, it ends up being turned around as playful game and spin around cheerfully, it just goes to show that the intent of the movie is more so to tap into the childlike purity of this world, one full of smiles, happy banters and silly adventures.

Ponyo might be a departure from the usual Ghibli movies which despite it's age group and demography does have more complexity and depth, but that doesn't really mean it's not worth one's time. Rather, try to appreciate the movie for what it is, and stay for the cheerful tides and playful streams that just overflows the screen and delivers on it's way joy and smiles to both characters and audience.

This story is an adaptation of of "The Borrowers" by Mary Norton and is about the lives of the tiny people who occupies the smallest nooks and crannies of the houses and survive by borrowing provisions by us, the regular people. This work is a directorial debut of Hiromasa Yonebayashi, which is something novel if of itself. It's a story about co-existence and understanding the circumstances of others, as well as realizing how little someone needs in order to be happy.

The movie has this interesting concept of presenting it's perspective and following the daily adventures and travels of the tiny people around the houses. It's fascinating how much detail and attention to the detail has been put into the animation and backgrounds, which does presents any single teacup as a mountain, and every single piece of tissue as as a large cloth. It's simple concept, but effective one - looking at our regular world through the lens of another human with such miniature size does looks fascinating and interesting.

Another topic of the movie is the fickle friendship that Arietty and the ill boy had made over the span of the runtime. Despite their differences and problems they always tried to seek connection with each other, feeling compassionate for the others despite being from separate worlds.

From Up the Poppy Hill is the second movie directed by Goro Miyazaki, which tells the romantic, and yet dramatic story within the high school experiences of two schoolmates that happens in the 1960's in Japan. It's a movie that respects the historical period that it presents, depicting by it's runtime a setting filled with nostalgia and melancholy, drenched in the bleakness like an old photograph, while in the same way presenting a story that is in joyful motion.

The film's pace is steady and deliberate, within it's story one can see some inconsistencies and issues, and yet the movie holds it's own charm, manging to be experience that is emotionally impactful and moving. It's plot structure moves slowly, but it ends up snowballing and generating a lot of momentum, which hardly cannot leave an impression on the audience.

This is a movie that has the pacing of slice of life story, but one that is filled with nostalgia, and meticulously crafted historical iconography, distilled within the beautiful and evocative sky and sea, that is treated as a separate part of the cast by itself, a silent watcher to all of the human fates that are involved within them.

As a year, 2013 is one hectic time for the studio, for the simple fact that both Hayao Miyazaki and Isao Takahata were working on their own separate movies, respectively The Wind Rises and Princess Kaguya.

For Miyazaki, it was evident from the get-go that this project holds very special and personal meaning to him. It's a story that explores his love for the freedom of the skies and the planes, and the admiration towards everyone who had contributed to that, in a way showing his respect to his own father who was manufacturer for plane parts. It explores the passion and the never ending vigor of his main character and his burning desire to craft and create efficient products of art. In the image of the protagonist one sees the biographic figure, as well as Hayao Miyazaki himself, with his desires, laments, and fears all entangled into this animated persona.

Many are the parallels that one can draw from the story's plot and characters, and yet they are not quite sufficient to express the meaning and significance that this movie has. For a long time considered to be his final creation, this was Miyazaki's way to convey his mindset on the topics that he had always found significant and that matters to everyone that appreciates Ghibli.

This tale about planes, tethered in realism and with no magic within them, creations made with consideration, weighted with many dreams, which were eventually plagued by the despicable reality and the inhumane war, acts like statement by itself - to never cease to create, to refine your craft and to always trust your inspiration. Never cease to believe in humanity, no matter that your work might not be understood, appreciated or properly interpreted by the others - to create is to express your genuine thoughts, shaping them into stories, which like airplanes in the skies, are waiting to be caught and appreciated by the right person at the right moment.

This is the final movie that Isao Takahata had made before his retirement, a project that he worked on for 8 years to no end. In it's core we can see familiarity, but also novelty - this is a interpretation of a work that had been written in 10th century, and yet again we can see the director's influence on the movie. Takahata is a person who explores the human pathos in a grounded manner, with a lot of subtlety and usage of body language and by always being indirect in conveying the message that he bears in his works.

This tale is invigorated yet again by the wonderful, one of a kind art style that was used in this movie. Inspired by the traditional sumi-e style, the pale colors and bold black brush strokes underlines and accents the elegance and fluidity of the imagery, presenting to it's audience a spectacle that is closer to a flowing work of art which is both captivating and yet is ethereal in it's beauty.

The legend of the princess, born in a bamboo sprout is one that is quite universal, a tale which presents how we as humans are often prone to do things that are expected of us rather than those that we deeply desire, as well exploring the transience of our living - at some moment you'd like to express your feelings and thoughts to others, but then it'll be too late for that. As a last chapter from the creative life of the director, this movie is both traditional and yet not, telling a classical story with unique to Ghibli artistic imagery, a story for the disconnections between us and others, as well as with our desires and our reality.

By far, this project is the only series that was released under studio Ghibli's banner, as well as it is first in being created as 3D CGI animation. Based on Astrid Lindgren's children's book by the same name, the adaptation has been directed by Goro Miyazaki.

In it we follow the adventures and sometimes misadventures of the titular Ronja amidst the lush forests and grand mountain ranges, and the show tries it's best to preserve and distill the childlike wonder of the fantasy worlds that Ghibli is famous for. It could be said that the pacing of the show is quite slow, but that is also befitting of the story it strives to present, there's not really a grand narrative that is the driving force but it's rather the episodic, day to day mischiefs of the main heroine.

This is a project that is tad lackluster if we consider the high standards that the studio is used to produce it's media, and yet it's a step in the right direction for both deciding to branch in on a new venue of animation as well as the show had proven to be example of Goro Miyazaki's experience in directing are getting more refined.

This movie is based on the novel by the same name, and it tells a story with different flair than most of the Ghibli movies. The second directorial piece of Hiromasa Yonebayashi weaves a tale about a girl, who is isolated and disconnected by the world that surrounds her and is driven by feelings of anger and full of grief over the fact that she couldn't relate to the feelings of others, by this way feeling lost within herself.

And in an effort to better her health and rejuvenate her mental state, she is sent to live in the countryside, a place with clean air and vast greenery. Within the rustic imagery, she finds a girl with graceful manners and playful attitude who befriends her and she feels like she finally had found a person she cares for, by this way slowly starting to shed her own pain and anxieties.

As in many Ghibli movies the magical and supernatural elements are present, but then again instead of focusing on the positive and whimsical, here they often feel introspective, amplifying and focusing at the inward of the character's psyche and soul rather than the external. It's a story that revels in it's melancholy and slow, but evocative drama, one that is both somber and ethereal in nature.

When Marnie is there is one untypical work of Ghibli, but one that resonates with the audience on a deeper and more personal level, expressing the sadness and nostalgia that we all hold within ourselves in a tangible, gripping way.

This is yet another experimental movie from the studio, helmed by the directing of Goro Miyazaki and it's based on a children novel. It's source material on paper feels like it's tailor made to be adapted by the studio - a whimsical fun story with a dash of drama, but generally a relaxing ride.

But then again, it is not a story without it's hiccups - the change to 3D animation may feel unappealing for aesthetic reasons, but also with the graphical transition a lot of the titular minimalistic details and animations the studio had always received positive praises are now gone, replaced by somewhat stiff and bland facial expressions. It's a tone down in terms of craftsmanship, but despite that it manages to convey it's story well enough.

The movie is entertaining and enjoyable, and yet, the spirit that the studio's heritage bears is not easily evident from this project. It's small budget and time constraints, on top of using animation that is certainly not common of this studio, is one volatile combination that had backfired commercially and critically at the project's reception.

This work of Ghibli is an interesting one - you can say that all of the ingredients of a movie from this studio are there, down to a notch, and yet something feels different. The tone and the way the narrative is presented tries to adhere to the classical approach and yet, there are set moments when the animation breaks it's own mold and rules and roams freely, creating very intense cinematography.

While the story's meaning becomes clear at the end, which is helped by the slow and steady start, the mid-section feels both rushed and bloated in a sense, presenting plot points and imageries that holds little to no meaning to the main themes, or enrichens it, but in a very roundabout manner. Considered as a whole, the subplots reinforces the ideas of the movie but their vague manner can really go over most viewers'.

Another point that sets this movie apart is it's script and music - the arrangements are dark, somber and orchestral, which are fitting of the themes that are depicted, and yet they lacked vert distinctive power, often in Ghibli movies the few theme pieces of a movie are iconic and memorable. As for the writing and dialogues, yes there is a certain merit to it and it shows in insightful contemplations, and yet in overall it missed something truly memorable.

As a whole, the movie has some pros, like the stellar animation and a lot of attention to details, but still it tries to tackle too many themes and way to chaotically, a decent chunk of the movie could be cut down and the main story line would've been the same. It is work that certainly had a lot of passion and consideration within it, and yet it has some glaring and obvious missteps, as well as it feels that there was not enough screen time to thoroughly unfold the concepts and ideas that were thrown into the viewer.