still there (Miyazaki) tomorrow? An overwhelming success at the Italian box office The boy and the heronThe twelfth feature film by the Japanese anime director Hayao Miyazakivery similar to the sequence of six-digit numbers and numbers from the movie by Paola Cortellesi. Starting January 1, for three days of programming, including two weekdays, The boy and the heron Its total profits amounted to about two million euros: a truly impressive result (at most with… The wind picks up In 2013, Miyazaki reached €1 million in several weeks of programming) which also represents the unique record of the first Japanese film to top takings in the history of Italian cinemas.
It's hard to fathom the kind of audience that has suddenly packed theaters over the past 72 hours, including this writer in a literal 120-seat cinema. run outEven if the lack of an actual animated film for the holiday period might have piqued the curiosity of a large segment of the audience (265,000 spectators in three days) who were unfamiliar with Miyazaki's cinema and who, according to the logic of numbers, do a fair amount of word of mouth.
During World War II, Mahito lost his mother in a hospital fire in Tokyo. So her father, Shoichi, the owner of a munitions factory, marries Natsuko, his sister-in-law, and moves in with her in a large lakeside mansion, filled with a handful of old aunts, and close to a mysterious tower immersed in the forest. Commissioned by the family's great-uncle, who appears to be inaccessible to humans. The intrusive, funny, and constant intrusion of the “nosy” gray heron, who haunts Mahito with the memory and thought of meeting his mother; Difficult relationship with classmates who push the boy to hurt himself with a stone on his temple; The sudden disappearance of the sweet new (pregnant) mother in the forest, prompting the boy, an old aunt, and the heron to search for his stepmother among the tangled plants, and then they are transported to the “underworld.”
That's stressful The boy and the heron However, it's a much less obvious problem than many titles in the past, precisely because Shinto spiritual inspiration (“The Stone Is Not Happy”) by the Japanese author, increasingly imbued with a serious and painful philosophical maturity, less trivial and less exposed to the charm of his animated if eloquent acting, seems compressed and dry due to his typical deluge of digressions and small thoughts. Under conspiracies.
At the bottom with Miyazaki The boy and the heron He wants to tell us The pain of loss, insecurity and inadequacy Present with a clear future in mind. A universal material that remains with the viewer, as in the scene of endless pieces of paper sticking to the heroine’s skin, determined to awaken a female character with elusive maternal features. Recommended for those over 18 years of age rather than younger ones perhaps The last film for Miyazaki (83 years old), who feared retirement ten years ago after The Wind Rises.
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