Anime: Kimitachi wa Dou Ikiru ka

'The Boy and the Heron' is a movie filled with symbolism and mysteries, all open for many interpretations. It has an oniric quality to it and is probably the most confusing a Ghibli film could be - but I say this in a good way. We are once again graced with breathtaking fantastic places and creatures, vibrant colors, and fluid hand-drawn animation. All this eye candy is complemented by the ethereal melodies composed by the great Joe Hisaishi. But why do I think this movie is different? Why do I believe it marks Miyazaki's final bow?

In this tale, we follow Mahito, a boy who is grappling with the loss of his mother to the horrors of war as he goes through the complexities of a new family dynamic. He keeps being haunted by a peculiar heron and is drawn to some mysteries involving a tower near the house. All of that makes the boy embark on a dreamy journey inside the heart of the magical and intriguing tower.

I believe Miyazaki's decision to center the narrative around a boy protagonist is quite personal. The boy's father works building airplane parts, just like Miyazaki's own father. Also, the boy finds a book - 'How Do You Live?' - that Miyazaki had when he was a child, which inspired this movie and borrows its name in the original japanese.

Not only that, but I think the whole journey is metaphorically a trip inside the mind of Hayao Miyazaki - a reflection on life, death, art, and the legacy he will leave behind.

The tower, I believe, serves as a metaphor for Miyazaki's legacy. This interpretation is further underscored by the high variety of self-references throughout the journey. From the living pieces of paper pestering Mahito inside the maternity, just like those besetting Chihiro in 'Spirited Away', to the adorable Warawaras bearing a striking resemblance to the Kodamas in 'Princess Mononoke', or even the apparition of Himi in the fireplace - a nod to Calcifer in 'Howl's Moving Castle' - each element echoes Miyazaki's earlier work. It's as if the tower is a physical representation of Studio Ghibli, where its magical universes coexist within.

Then, by the end of his journey, Mahito finally meets the enigmatic wizard who owns the tower - which happens to be his great granduncle. The elder tells him that he needs someone to take care of the tower and Mahito might be the right one, due to their shared bloodline. This interaction could be interpreted as Miyazaki contemplating on the possibility of his sons taking over his empire - or even the idea that he is the only one possible, since Mahito might be a version of himself.

The variously shaped building blocks that keep the tower balanced, even with their imperfections, might symbolize the films that shaped Studio Ghibli's identity. Great granduncle says that is now up to Mahito to make his tower stand in his own way, maintaining the balance and welfare - maybe this is a nod to the probable future generation of Ghibli. The kid is reluctant on this idea.

Therefore, the old man can be seen as the present-day Miyazaki speaking with his younger self about the future of his empire. Just like the wizard, Miyazaki envisioned and brought to life an ideal and hopeful world, yet finds it challenging to depart from it. However, similar to Mahito, he recognizes the value of embracing and appreciating the "real life world", even if filled with so many problems - many of which the director critiques in his films. In a way, the tower's collapse in the end of the story might represent Miyazaki's acceptance that Ghibli and his career can come to an end.

Another theme that keeps on resonating in the film is death. As I pointed, an 82-year-old Miyazaki - despite his incredible energy - is pondering about his own finite existence. His contemplation about mortality was intensified during the making of this movie, with the loss of his dear friend, mentor and coworker, Isao Takahata. I believe that Hayao Miyazaki's grief and contemplation of his advanced age provided inspiration for the numerous visions and commentaries regarding humanity's greatest mystery in the film.

The narrative unfolds with the death of Mahito's mother and his profound struggle with this loss. Later, his interest for the tower starts when the odd heron keeps telling him that his mother is alive inside. This exploration of life and death reflects a universal human curiosity, prompting questions that science and religion often make: Why do we die? Is there an afterlife? Do souls reincarnate? Are there concepts of heaven and hell?

During Mahito's journey, we see him visit a huge tomb, witness the last breath of a pelican, encounter wondering ghosts like the shadow people, and watch the warawara reincarnate, among other experiences that contemplate the nature of existence. All of this accompanied by the heron and/or the young Himi - which is quite similar to Dante's Divine Comedy I might say. Moreover, Kiriko travelling with the boy in a boat is very Charon-like.

As he finally reaches the conclusion of his journey, he finds himself coming to terms with the idea of the loss of his mother, his new stepmother and new home. This is greatly represented with the wound he makes in his head becoming a scar by the end of the narrative. It'll never be fully healed, but easier to deal with.

I've personally endured a profound grieving process. Losing my beloved mother during the pandemic was incredibly challenging. She was my everything, my guide, my sanctuary, my comfort. Like Mahito, I started my grief in denial, passed through guilt, but through therapy sessions I came to realize that she'll be alive forever in my memories. This movie was so touching for me because Miyazaki designs a beautiful take on the process of grieving. What struck me the most was how he guides his protagonist toward healing by immersing him in a fantasy world.

Fantasy, imagination and art can be a connection to the world of the deceased. Someone who directed a film, composed a song or painted a frame a century ago can still evoke the same emotions that were felt back then in a person today. Also, one of the things that helped me with my grieving experience was listening to songs my mother used to love and playing games we used to play together - the art we cherished together made me feel connected to her somehow.

So, I believe in this film Miyazaki is both exploring the idea of remaining alive through his legacy and praising the power of art as a tool for coping with the pain of loss and the challenges of life itself.

Miyazaki had a close relationship with Isao Takahata, which he calls Paku-san. Throughout his career, Miyazaki regarded Takahata as his master and mentor, always highly regarding his opinion. With Takahata's passing, Miyazaki felt a significant loss in his creative foundation. Maybe his art skills in the making of 'The Boy and The Heron' were used as means of connecting with Isao.

Mahito, a reflection of Miyazaki himself, embarks on this adventure alongside the heron, which I believe symbolize Toshio Suzuki - and he agrees with me. Suzuki, co-founder of the studio and producer of Ghibli's films, has been instrumental in taking Miyazaki's works around the world, the same way that the heron takes Mahito around the fantastical world within the tower.

When Mahito encounters the older, sage-like figure, it may symbolize Miyazaki meeting with Takahata. Themes surrounding the future of Ghibli and the final stages of life might be a question Hayao would ask Takahata if possible. Now, in a film form, he is seeking Paku-san's counsel on what steps to take.

I also perceived some things in the movie as Miyazaki's takes on current issues. When the heron shows a fake version of Mahito's mother for him, we see that despite looking very genuine, it is a soulless mass. This is probably a reference to AI art and CGI, which the director is famously critical of.

The parakeets and his leader might represent the rising of fascism, authoritarism and ignorance in the contemporary world. These people have a big following, act in a herd behavior and are trapped in their own conspirational world, much like the parakeet crew - with the exception that they are way more likeable and charismatic than this kind of people.

The variety of elements open to interpretation in the film is almost infinite. With its dreamlike narrative, anything can both be and not be a metaphor. This aspect of the movie is something I adore. It delves deep into its imagery and significance, yet remains highly captivating, entertaining, and moving.

Considering that this movie might be an allegory for Miyazaki coming to terms with the passing of his mentor, his contemplation of his own mortality, and the potential conclusion of Studio Ghibli, could we interpret this masterpiece as his farewell?

The answer is maybe, we never know. But it feels like a final bow, even if it's subtly presented. The final scene lacks the typical catharsis of farewells in media - just like reality. Life unfolds without fanfare, things just come and go like everyday - and this is beautiful for an ending.

We, as fans of Studio Ghibli and Miyazaki, crave for more of the creative mind of this masterful animator, of course - and he is yet full of energy. But I can accept if, after this great spectacle, the old man can finally rest and leave his tower be.