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‘The Boy and the Heron’ Review: Hayao Miyazaki Put Retirement on Hold to Bring Us a Few New Fantasies

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variety.com

Peter Debruge Chief Film Critic More often than not, Hayao Miyazaki’s heroes have been young women — from Ponyo to Princess Mononoke, mischief-seeking Kiki to the two sisters spirited away by furry forest guardians in “My Neighbor Totoro.” That’s the most obvious departure the anime maestro’s fans will notice in “The Boy and the Heron”: It’s about a boy, Mahito Maki (voiced by Soma Santoki), grieving the loss of his mother during wartime.

He’s surrounded by women, but this quest falls on the shoulders of a character who’s reportedly closer to Miyazaki than any of his previous protagonists.

In 2013, the world-renowned toon auteur announced his retirement from feature filmmaking. He disbanded Studio Ghibli, the company he’d co-founded, and let its artists scatter to find work where they could.

But Miyazaki couldn’t stop drawing (that’s how he “writes,” by sketching the dream-like adventures into storyboards). And this time, the adventure he imagined centered on a 12-year-old boy and the gray heron he discovers flapping about his new home — a nuisance that eventually reveals itself to be a disguise for another of Miyazaki’s surrealistic creations, when a bald, troll-like figure with great big teeth and a bulbous red nose emerges from within its hinge-like beak.

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