/anime/ - Anime

>>20705
This feeling is something I’ve been chasing for a while. A few things have made me feel it. Like I was hit by a truck of raw emotion. It lasts for a day or two. Like an immediate nostalgic layer on top of my active daily perception. Like a post mortem depression that glistens from a kernel of the true beauty of the world I’ll never get back.

>>20930
>This feeling is something I’ve been chasing for a while. A few things have made me feel it. Like I was hit by a truck of raw emotion. It lasts for a day or two. Like an immediate nostalgic layer on top of my active daily perception. Like a post mortem depression that glistens from a kernel of the true beauty of the world I’ll never get back.
YES, exactly. Honestly that's the feeling that a true masterpiece of art evokes. It's a wonderful yet simultaneously awful feeling and it leaves me depressed and contemplative days after.

Fucking missed the 10th anniversary rerelease of
The Wind Rises and I was really hyped to see it because of the high production value.

Anyone ever watch his Lupin III Part 2 episodes? They're pretty great, almost as good as Cagliostro

I feel the same way towards Miyazaki as I do towards Tomino. Love their stuff, but they've got really dogshit opinions.

>muh technology is soulless
>work happily till you die
Jesus christ.

Pretty sure this is his actual last one, anons. This comes off less as his periodic petulant
>anime is TRASH I am DONE I am QUITTING
and more
<I'm a fucking octogenarian workaholic chain smoker, I don't have much time left, I have to wrap this up for posterity

>>21094
>work happily till you die
Way to take it WAY out of context.
1) There's a lot lost in translation
2) the meaning refers to the idea of finding something to do that you feel fulfilled in doing and being happy to do that work for the rest of your life (which was translated literally from Japanese to "'til you die" which is a phrasing that in japanese has different connotations.

>>21095
>TFW Miyazaki will die in your lifetime and he'll never make the films you've enjoyed since childhood, ever again.
>TFW you will never feel the magic of experiencing a Miyazaki film for the first time.

>>21099
the whole criticism is retarded tho, tomino is literally one of those "get in the robot, pussy" jackasses. hell, thinking evangelion is "nihilistic" is a braindead take

>>21100
>tomino is literally one of those "get in the robot, pussy" jackasses
Well not quite. Tomino's Gundam has a lot of traumatized children also not responding healthily to being murder-robot pilots, rather than depressive spirals like Shinji, they went 'Nam Vet PTSD mode and threw themselves into battle like psychos, which also, in a sense, is as realistic a behavior as Shinji's fall into apathy.
>hinking evangelion is "nihilistic" is a braindead take
Eh, the original Evangelion has a bit of nihilistic view of things as Shinji constantly gets screwed over every time something good to him happens. Everyone he knows and he himself are broken in some way. Sure EoE ends with Shinji choosing to come back from Human Instrumentality and it can be imagined that the rest of humanity also will heal their souls and follow in restoring their individuality, but it's unconfirmed. All in all it's quite a bit depressing even if the series finale of "Congratulations" was supposed to be uplifting and cathartic (which it was to me at least) but that's also for a specific sort of person, usually those themselves suffering with issues of self-reflection, self-doubt and depression (which reflects Anno and his team's state of mind during the making of the series), however to the average, well-adjusted person, many elements like that may not connect to them and it'll seem like a depressing fall into hell with a bittersweet, unclear ending. So long story short, I can understand the interpretation of it as nihilistic.
I'm not even going to touch the schizophrenic nonsense the Rebuild films were however, because starting from 3.0, they lost all semblance of sincerity or cohesion.

>>21102
>I'm not even going to touch the schizophrenic nonsense the Rebuild films were however, because starting from 3.0, they lost all semblance of sincerity or cohesion.

That's really the issue with the rebuilds, isn't it? They not bad films per se except 3.0 which really betrays its status as a prolonged first act to 3.0+1.0 and as such feels like a meandering torso but the project as a whole feels lacking in cohestion. 3.0 + 1.0 manages to pull it all together to an extent but on the whole the project feels very tonally and narratively disjunctive far beyond what the original was able to get away with

>>21112
The Rebuilds first films were initially just a OVA shortening and re-imagining of the original series, deviating significantly with Zeruel (although admittedly there are portions of the first 2 rebuilds that I liked, such as Asuka and Rei's informal cooking for Shinji thing which was done without being too moe, and had wholesome vibes that still fit with Evangelion's story. 3.0 just felt like it was trying to hard to be artsy and failed utterly, with bitch-Misato, dyke-haircut Ritsuko and the inanity of the 2 factions. Gendo wearing 00's visor was a good touch and the idea that there were previous "shinji" that were extracted from Eva-01 only to turn out to be eldritch imitations is also an interesting idea… that never went anywhere. The part where Kaworu and Shinji played piano together was just infuriating as someone that plays piano, because it felt so fucking artificial to me. Rei became the doll she was memed as. We don't talk about Mari (Sue). 4.0 was just trash. That first trailer with the marching, headless EVA units looked so fucking comedic and stupidly out of place for Evangelion I burst out laughing when I saw it. I discussed some of this in the Evangelion thread, especially that shitty ending and Rei's absolutely stupid death. The original NGE's ending and key moments are memorable and have been memed to death since it came out almost 3 decades ago, the rebuilds' best moments will be forgotten by most by the 2030s me-thinks.
The final message in the last Rebuild film was also inane, boiling down to "go touch grass, work managerial job, have sex" which isn't technically incorrect, but its so tonally deaf to the story of Evangelion. That finale with grown up Shinji and Mari was attempting the same vibe as the Slice of Life dream Shinji had during Instrumentality, where it's meant to be a hopeful "life's not necessarilly misery, but it just feels very lame and almost like the Rebuilds ripped off the dynamics of 02 from Darling in the Franxx (ironic considering the latter is literally a rip-off of NGE with some Gundam slapped in).

>>21108
>most_mentally_stable_child_soldier.mp4
Kek

>>21140
>>20727
I saw the first trailer release for it. It looks amazing, but it left this feeling of almost dread watching it. The music is haunting too, I think it'll be comparable to Spirited Away and Princess Mononoke in both its creepiness factor and imagination.

>>21163
Yeah, this is looking like one of his darker works for sure.

Going to watch Howl's Castle tonight. I'm pretty hyped lads, because it's been a hot minute since I've seen it.

If any of you want to see it in theatres, it'll be out for a few days
https://www.fathomevents.com/events/Howls-Moving-Castle-Studio-Ghibli-Fest-2023

>>21560
I liked that, Sophie is awesome.

>>21561
>>21560
It was wonderful to see this film. I honestly didn't remember it very well, but the memories I had were very pleasant and seeing it again was just as wonderful. I genuinely laughed many times and felt drawn into the story and animation. Considering the theatre was empty during the screening, it was like I was given the chance to privately dive into the film. Miyazaki's films always leave me both elated and melancholy, such a contradictive feeling.

I'm gonna rewatch Spirited Away next week

Watercolor arts of Ghibli films
https://www.cbr.com/studio-ghibli-features-iconic-works-watercolor-greeting-cards/

>“Americans shoot things and they blow up and the like, so as you’d expect, they make movies like that,” Miyazaki expressed at the time. “If someone is the enemy, it’s okay to kill endless numbers of them. Lord of the Rings is like that.”
>“The Lord of the Rings is a movie that has no problem doing that [not separating civilians from enemies, apparently]. If you read the original work, you’ll understand, but in reality, the ones who were being killed are Asians and Africans. Those who don’t know that, yet say they love fantasy are idiots.”

<Inb4 "muh Wind Rises is militarist"
This is a blatant misrepresentation of the film and ignores the decades of other Miyazaki films countermanding such a narrative. Not to mention that Miyazaki has never been one to be a blatant black-white idiot like some.
We see this in Howl's Castle, where battleships and the war is horrific and monstrous (literally) and its outright seen with disgust by our main characters.
We see this in Nausicaa, where the militarist path only leads to destruction and chaos and is an example of man's ignorant impulse to destroy what they feel threatened by
We see this in Princess Mononoke, where the avarice of the Emperor drove the poor to make a settlement based on the destruction of nature, as technological progress burns everything around it.
We see this in Porco Rosso, where a looming war and the overhanging threat of fascism slowly cramps down on freedom and how the guilt of war survival and self-loathing is seen in the pig-curse.

Yet we also see how and why people are driven to fight, to take such military actions, why humans would want to destroy nature and peace for the sake of progress, even if the consequences are bad, because people strive to improve and better their lives above mere survival and predatory relations and ironically can be led to do the opposite.

The Wind Rises specifically is about how a man that dreams to fly, to create wonderous machines is forced to do so through the only avenue available to him - the military-industrial complex, and how he suffers for it and how it becomes an obsession. This is not celebratory of war or the military. It along with Grave of the Fireflies proves the opposite in fact.

>>21777
>777
Lucky trips, heh. Well anyway I enjoyed it very much, it was a wonderfully creative story and quite an interesting imaginary world. However the animation in some parts, while much smoother and digitally cleaner than prior works of Miyazaki, frankly feels less impressive than the older works that have the clear hand-animated aspects like Howl's Castle, Nausicaa and Mononoke, however it was still a masterpiece of animation and story-telling.

>>21163
English trailer spoils a lot more than the Japanese trailer. Its supposed to come out in December. It already was in theatres in Spain and my penpal there tells me it was like nothing he'd seen before (and he's watched most of Miyazaki) and that it HAS to be seen in theatres, and considering my experience with Ghiblifest this year, I'm pretty sure it ain't a lie.

https://www.youtube.com/watch?v=t5khm-VjEu4

>>21876
How is the Wind Rises not militaristic? Sure it throws a few bones at the idea that 'damn isn't it bad the Zero will be used to kill people' but the overall narrative is a romantic (and completely made up) one about some guy's big dream to create something beautiful. The Japanese have always been dab hands at criticising American or German imperialism but are almost all completely disinterested in portraying the Japanese as the aggressors instead of the victims.

Why doesn't Wind Rises show how the Zero was used to butcher China and massacre millions? Oh yeah because the audience wouldn't like it and it strikes a bit too close to home for Miyazaki.

>>22233
Also worth noting that Grave of the Fireflies is all about how poor Japan was bullied by America and dindu nuffin (of course the a-bombings were a horrendous crime but why not make an anime about the rape of Nanking instead? Gee, I wonder…)

Miyazaki loves to talk shit about Americans but movies like Full Metal Jacket, Apocalypse Now, Starship Troopers, Platoon, Schindler's List, and so on piss all over his 'anti-militarist' credentials. Hell even other Japanese movies like The Human Condition are far more uncompromising than his dreck.

>>22233
>How is the Wind Rises not militaristic
Does it glorify war? No. Is it romanticizing military combat? No. Is it apologizing for War Crimes, or outright denying them? No. So the answer is it isn't militaristic, at all.
>the overall narrative is a romantic (and completely made up) one about some guy's big dream to create something beautiful.
It isn't completely made up and you'd know that if you read any of the backstory
>When we awoke on the morning of December 8, 1941, we found ourselves — without any foreknowledge — to be embroiled in war… Since then, the majority of us who had truly understood the awesome industrial strength of the United States never really believed that Japan would win this war. We were convinced that surely our government had in mind some diplomatic measures which would bring the conflict to a halt before the situation became catastrophic for Japan. But now, bereft of any strong government move to seek a diplomatic way out, we are being driven to doom. Japan is being destroyed. I cannot do [anything] other but to blame the military hierarchy and the blind politicians in power for dragging Japan into this hellish cauldron of defeat.
>- Okumiya, Masatake; Horikoshi, Jiro (1956). Zero! The Story of Japan's Air War in the Pacific. New York: EP Dutton & Co. ISBN 0-74344-491-4. pg401–2
And there is nothing wrong with having a romantic story either.
>The Japanese have always been dab hands at criticising American or German imperialism but are almost all completely disinterested in portraying the Japanese as the aggressors instead of the victims.
You've never seen Princess Mononoke or Nausicaa, have you? Hell it sounds like you haven't even seen the film, since the film doesn't present the Japanese as victims in any shape or form.
>Why doesn't Wind Rises show how the Zero was used to butcher China and massacre millions
Because that's not what the story is about, what a fallacious loaded question, seriously the number of ways this loaded statement is dismissible is almost laughable if it wasn't so disgusting.
- The Zero wasn't even a big part of the China campaign, since that was primarily ground-forces fighting.
- By this same logic a film about Kalashnikov should spend hours showing how Muslim terrorists and African slavers use the gun to slaughter tens of millions. Or lets take Korolev and focus only on how ICBMs carrying nuclear warheads will kill billions if launched, because guilt by association is such a valid argument! Or should we demonize Alexander Graham Bell for his inventions because they were made under a capitalist system? Sweeping generalizations like yours are fucking garbage arguments and are the mark of a contrarian seeking to concern troll. Literal /pol/ "muh iphone" argumentation.
>Oh yeah because it's irrelevant to the story and is a retarded nonsequitur.
Consider talking a long walk off a short bridge.

>>22234
>Grave of the Fireflies is all about how poor Japan was bullied by America and dindu nuffin
Utterly disingenuously worded slander
>but why not make an anime about the rape of Nanking
<literal whataboutism argument
<dickmeasuring human suffering
<Oh No, Imperial Japan was *gasp* imperialist, so that makes any war-crimes and horrors their people suffered totally fine
At the Nuremburg trials, a member of the proceedings defined evil as the lack of empathy and dehumanization of a victim. You are fucking evil and are by no metric communist, leftist or pro-proletarian.
>Schindler's List
That fucking pisspoor excuse of a film? You dare to use THAT as an example, you uneducated halfwit? A film that turns an exploitative fucker like Schindler and heroizes him as "saving" jews? The only reason people even bought that shit was because it was sappy and Spielberg knows how to sell a good shot, the film is utterly ahistorical, and unlike The Wind Rises is genuinely dislikeable for making a hero out of a man as despicable as the rest of the nazis he associated with. Fuck you.
>piss all over his 'anti-militarist' credentials
Burger-brained wording, the films are completely different mediums, genres and plots, by that metric, Soviet war films piss all over your jank ass, edgy 'Nam movies… except they don't because unlike how your retarded, burgeroid peabrain thinks, that's not how movies work.
>Japanese movies like The Human Condition are far more uncompromising
You've clearly never seen those films either, and are comparing (yet again) different genres entirely. Miyazaki's films are not ABOUT war, or anti-war, those are just themes within the films, but are secondary to the story he's telling. The movies you bring up are specifically war films, about war with stories tied to the battles and fighting and background leading up to said battles and fighting, you utter ignoramus.

>>22235
>Does it glorify war? No. Is it romanticizing military combat? No. Is it apologizing for War Crimes, or outright denying them? No. So the answer is it isn't militaristic, at all.

How would people feel if there was a German film out there that's a 90 minute circlejerk about how 'beautiful' and romantic the development of the Panzer V was and the anti-war messaging is only tangential to the story? Sorry, silly question since that film probably wouldn't even be allowed to be made under German law.

>It isn't completely made up and you'd know that if you read any of the backstory

I looked it up after I watched it years ago and it made me dislike it even more. Your quote doesn't give any evidence of that. PS: They were already in a war when the Zero was being developed but it was with Chink subhumans so it doesn't count I guess.

>And there is nothing wrong with having a romantic story either.

I don't have a problem with that tone when it comes to say, My Neighbour Totoro but when this is a movie about WW2 war machines that we're talking about, it is actually fucked up.

>You've never seen Princess Mononoke or Nausicaa, have you? Hell it sounds like you haven't even seen the film, since the film doesn't present the Japanese as victims in any shape or form.

I haven't seen it in years but I remember how disgusted I felt by it. The only people to suffer any adversity in that movie are Japanese ie from the earthquake, the victims of the Zero are never featured.

"Because that's not what the story is about, what a fallacious loaded question, seriously the number of ways this loaded statement is dismissible is almost laughable if it wasn't so disgusting.
- The Zero wasn't even a big part of the China campaign, since that was primarily ground-forces fighting.
- By this same logic a film about Kalashnikov should spend hours showing how Muslim terrorists and African slavers use the gun to slaughter tens of millions. Or lets take Korolev and focus only on how ICBMs carrying nuclear warheads will kill billions if launched, because guilt by association is such a valid argument! Or should we demonize Alexander Graham Bell for his inventions because they were made under a capitalist system? Sweeping generalizations like yours are fucking garbage arguments and are the mark of a contrarian seeking to concern troll. Literal /pol/ "muh iphone" argumentation."

The Zero directly kept the war going on longer and therefore contributed to the slaughter of China, not to mention all the allied victims of the war. Maybe we just shouldn't make films that are all about worship of military technology but that's just me.

>Oh No, Imperial Japan was *gasp* imperialist, so that makes any war-crimes and horrors their people suffered totally fine

I'm not saying that, but I find it very interesting how Miyazaki likes to posture as some great intellectual and anti-establishment figure when his bread and butter is attractively presented feel-good films and the only times he steps outside that it's for nationalistic atrocity porn. If Miyazaki didn't make such inflammatory statements I wouldn't dislike him as much as I do (he reminds me of Zizek in that way, all mouth no substance).

>At the Nuremburg trials, a member of the proceedings defined evil as the lack of empathy and dehumanization of a victim. You are fucking evil and are by no metric communist, leftist or pro-proletarian.

Look like I said I feel sorry for everyone that dies in a war that didn't have anything to do with perpetuating it. But my criticism still stands. Miyazaki didn't make movies about the Japanese war on China because either it wouldn't sell, or because he personally didn't want to. Now that's reality, a film that doesn't make money doesn't really serve much purpose, but I certainly think he has to take a certain bit of the blame here. At least America had enough of a real counterculture and courageous directors that a film like Platoon could make money and be released as a success.

>That fucking pisspoor excuse of a film? You dare to use THAT as an example, you uneducated halfwit? A film that turns an exploitative fucker like Schindler and heroizes him as "saving" jews? The only reason people even bought that shit was because it was sappy and Spielberg knows how to sell a good shot, the film is utterly ahistorical, and unlike The Wind Rises is genuinely dislikeable for making a hero out of a man as despicable as the rest of the nazis he associated with. Fuck you.

Well Schindler did save Jews did he not? Of course his legacy isn't perfect, he was still a businessman who made money off concentration camps, but his story is interesting as the movie is effective at what it sets out to do.

>Burger-brained wording, the films are completely different mediums, genres and plots, by that metric, Soviet war films piss all over your jank ass, edgy 'Nam movies… except they don't because unlike how your retarded, burgeroid peabrain thinks, that's not how movies work.

Yes sure those films are different mediums but if Miyazaki wants to talk a big game then he should back it up. If anime wants to be taken seriously as a method of social critique then I don't think your examples about how militarism is portrayed as bad in the abstract in Miyazaki films are really enough. It's easy to say war is bad but a lot more difficult to tackle the nationalism of your own country.

>You've clearly never seen those films either, and are comparing (yet again) different genres entirely. Miyazaki's films are not ABOUT war, or anti-war, those are just themes within the films, but are secondary to the story he's telling. The movies you bring up are specifically war films, about war with stories tied to the battles and fighting and background leading up to said battles and fighting, you utter ignoramus.

Yes I have seen them and find them to be more compelling given the time period they released in. Yes the examples I brought up were war films but it's Miyazaki talking a big game here like I said about how American media is dogshit.

If Miyazaki wants to make breezy, nice looking films that make you feel good and are uncontroversial to the Japanese audience that's fine, but then he should realise the limitations of his own works.

>>22236
>random image
>horrific spacing/formatting straight off reddit.
Be honest here are you just ChatGPTing your responses?

>>22237
>Le Reddit spacing

Is that seriously the best you can defend your husubando?

>>22236
>development of the Panzer V
Miyazaki always had a romantic hard on for flying machines, I dont think tanks are a valid comparison

>Maybe we just shouldn't make films that are all about worship of military technology
didnt see that one but from what I gathered he criticize its recuperation by the military. Thats still your most valid criticism

>his bread and butter is attractively presented feel-good films
did you even ever watch a Miyazaki movie ? lmao what a retarded thing to say

>likes to posture
<get success
<get interviews
<say anti-establishment shit
<how does he dare posture and not make his films about how evil imperial japan was ! (not even considering they likely wouldnt even get made if he went that road)

also he never ran for a liberal party or made excuses for imperialism and bombings, and he made good fucking movies, so comparing him with zizek is pretty low

>he has to take a certain bit of the blame here
why does he have to make film on the things YOU choose ? its not how art work

>he was still a businessman who made money off concentration camps
but you make excuses for him and his celebration while rabidly attacking myaziaki for his explicitly anti war movies

>breezy, nice looking films that make you feel good and are uncontroversial to the Japanese audience
thats not what his films are though


>>21163
so is it good ?

>>22236
>How would people feel if there was a German film out there that's a 90 minute circlejerk about how 'beautiful' and romantic the development of the Panzer V was
>that film probably wouldn't even be allowed to be made under German law.
<Oh I'm so clever with my snide remarks teehee
False equivalence, that's not what The Wind Rises is about, dolt.
>I looked it up after I watched it years ago
Translation: I looked it up just now
>Your quote doesn't give any evidence of that
Denial is not an argument, next.
>They were already in a war when the Zero was being developed but it was with Chink subhumans so it doesn't count I guess.
<Let me shift goalposts and bring up concern-trolling nonsequiturs irrelevant to the film or Miyazaki and try to plaster them on "subtly"
You really are just assmad, aren't you? Go back to /pol/
>when this is a movie about WW2 war machines that we're talking about, it is actually fucked up
No, you're just an infantile moral-fag deliberately misrepresenting the film
>I haven't seen it in years but I remember how disgusted I felt by it
>The only people to suffer any adversity in that movie are Japanese ie from the earthquake
<Ignores the first part and pulls another whataboutism
The film takes place in Japan and is almost exclusively about the life of the man that designed the aircraft and his passion towards aircraft design, the unfortunate situation of which is that only the military-industrial complex would permit him to pursue that passion. The film isn't about the war itself, and its anti-war message comes from the display of how the military twists things around itself.
>The Zero directly kept the war going on longer and therefore contributed to the slaughter of China
Wow, you really are reaching, aren't you? Are you really this stupid or just arrogant to think that such an fallacious argument would fly?
>Maybe we just shouldn't make films that are all about worship of military technology
A) Maybe you should stop being a pussy
B) That's not what the film is about, stop lying.
>I'm not saying that
That's EXACTLY what you're saying, you callous fuck. In your fervor to hate on Japan using collective guilt logic, you're dehumanizing them and making their struggle and pain and suffering out to be ok because of "le warcrimes". You're only backtracking because I called you out on this sociopathic spiel. Hell you're still trying to shift onto Miyazaki to distract from it
>Miyazaki likes to posture as some great intellectual and anti-establishment figure when his bread and butter is attractively presented feel-good films
Neither of these things is true in the slightest. Miyazaki has never postured as being an intellectual nor as a "great anti-establishment figure". PEOPLE call him that because of his opinions, works and actions in life. His films aren't "feel-good" they're just not pointlessly nihilistic schlock, nor are they afraid to tell a specific story he feels like telling. Your utter ignorance as to the meanings of his films and constant bringing up of dramatic barely relevant factors is terminal burger-psychology.
>it's for nationalistic atrocity porn
He's never made that, you're outright lying. KYS.
>I feel sorry for everyone that dies in a war that didn't have anything to do with perpetuating it
Nice backtracking, as clinical and soulless an apology as expected. Are you a youtube ECeleb by any chance?
>my criticism still stands
Your provocation is a shallow fallacy of the like to make Goebbel's proud.
>Miyazaki didn't make movies about the Japanese war on China because either it wouldn't sell
Miyazaki has never cared about his films selling, he only cares about making his art. He doesn't want to make a movie about war. Wars may feature in passing, but they're never the focus.
>At least America had enough of a real counterculture and courageous directors
Ha… hahahahahahahahAHHAHAHAHAHAHAHAHAHAHAHAHA… you genuinely believe this… wow.
>Well Schindler did save Jews did he not
No, he didn't, not intentionally, read a fucking book.
>his story is interesting
<the movie is effective at what it sets out to do.
You filthy hypocrite
>if Miyazaki wants to talk a big game then he should back it up
What the fuck are you talking about you schizo?
>If anime wants to be taken seriously as a method of social critique
Jesus christ, not everything needs to be a social critique. Having deeper themes or touching upon them doesn't mean the story MUST derail to talk about these things. That's literally the most autistic way of viewing story-telling there is.
>I don't think your examples about how militarism is portrayed as bad in the abstract in Miyazaki films are really enough.
Because you're politically-obsessed
>It's easy to say war is bad but a lot more difficult to tackle the nationalism of your own country.
Irrelevant and not a valid criticism
>it's Miyazaki talking a big game here like I said about how American media is dogshit.
Jesus H Christ, finally you explain yourself, and you're still way off the mark because you clearly didn't stop to read what Miyazaki said.
All the movies you mentioned are a reflection of American culture, where shooting and explosions are commonplace, and so is common in film. Miyazaki is stating a fact. He then also states a fact that American films often propagate a dehumanization of the enemy into mindless hordes and brings up Lord of the Rings as a very valid example, because of how it treats Orcs and Goblins as fodder that a viewer will have no sympathy for as they're cut down to pieces. Miyazaki further expands that this is the treatment given to Africans and Asians and that people ignorant of this are idiots (/pol/ for example fits this). So Miyazaki is criticizing a specific type of film and using a specific example. He's not dickmeasuring his films by saying "look at mine" or some shit, so your entire thesis of argument is a strawman to begin with.
>then he should realise the limitations of his own works.
<If you write books about adventures or romance, you can't express a critical opinion about a different genre!
By that metric you have no metric talking at all since you've created nothing comparable to any of the films mentioned.

>>22239
>so is it good ?
It hasn't released in my area yet, I'm gonna see it soon I posted an update on it >>22232

>>22238
>Oh no my terrible formatting is called out
<better use a gotcha
Tiresome.

>>22240
>>22236
>Schindler's list
<read a book
Just as an addition
https://aif.ru/society/history/pravednik_sluzhivshiy_tretemu_reyhu_kem_na_samom_dele_byl_oskar_shindler
Schindler helped Germany lay groundwork for its invasion of Poland leading a network of 25 spies and prepared an infamous false-flag attack called the “Gleiwitz Incident”. The man was known as "Schindler the Swindler" and was a war profiteer, who was drunk and lost money prior to WW2 beginning.

Just finished watching The Boy and the Heron and as always my expectations are blown away. The film is unpredictable as usual, and very strange, often subverting what I anticipated its direction was heading in. It's similar to Spirited Away in many regards, including the mystical, and is both sadder and more lighthearted than I thought it would be. The trailer was masterfully done in revealing nothing yet still providing interest. The underlying themes relating to boys and mothers, and its melancholic ending were obvious, yet at the same time not. In some ways it also reminded me of the first Narnia film as well.

The Voice dub was amazing, and there were some A-list actors like Christian Bale and Mark Hamill (and even a short portion with Willem Dafoe) credited for voice roles, although that's pretty common in Miyazaki's films now that I think of it. The Japanese dub is also good as well, though the English dub is what I saw in theatres. Robert Pattinson was the voice of The Grey Heron and is shockingly good, I didn't recognize him at all.

One thing I'm interested by is the lack of other Gray Herons as earlier information of the film seemed to have a female heron character as well as a male.

The original title of the film is actually 'How Do You Live?' , in Japanese Kimitachi wa do ikiru ka ( 君たちはどう生きるか ) which is also the name of a Japanese coming-of-age novel from 1937, which is referenced within the film itself. Mahito, The Boy, reminded me immediately of Miyazaki; his hair, his eye-brows and head-shape and it makes sense, as much of the visuals were taken from Hayao's childhood experiences, which I discovered later, as I didn't wish to spoil my experience.

>>22575
I watched it very recently too, I enjoyed it, but I have to admit I found the story unsatisfying, it just didn’t really grab me. The animation was really pretty tho, like really really pretty.

>>22581
It's amazing how good AI became at animation.

>>22585
>It's amazing how good AI became at animation.
What the fuck are you on about?

miyazaki made a poignant movie about coming to terms with loss and aging, so perhaps me falling asleep in the theater while watching it was thematically appropriate

>>10234
>workers aren't always the good guys
Well, duh, false consciousness exists. I don't actually consider myself a Marxist but this reason for abandoning it is silly and moralistic (one more point goes to Max Stirner and later Marx). There are still problems inherent to the capitalist system that he cannot simply ignore, otherwise I'm not really sure how he read Marx (through the prism of his moral values I assume).

>>22676
Gottem

>>23252
Yes, I find his movies very commercial. There's nothing inherently wrong with that but when you combine it with his public persona I find it grating

Don't want to piss anyone off but I always considered Miyazaki's movies to be too much of what people call "comfy" and "chill." I don't like stuff like The Laid-Back Camp much. Maybe I'm too dense all the time and can't force myself to relax, can't help myself. That's the reason I don't watch much kodomomuke or shoujo or iyashikei or romcoms or slice-of-lifes, I'm just too much of a grumpy old man who is unable to enjoy nice things (yeah, I'm the opposite of an average anime enjoyer).

Princess Mononoke and Porco Rosso seem kinda interesting though.

>>23253
>I find his movies very commercial
I didn't mean "commercial." I'm sure Mr. Miyazaki genuinely likes what he's doing. I'm just not that kind of person who's into the overall feel of his works, they're like Disney fairytales and I tend to shy away from fairytales and other softer stuff like that.

>>23254
>I'm just too much of a grumpy old man who is unable to enjoy nice things
Same here.

>>23254
To be honest, Porco and Mononoke are closer to what his movies are actually about than people on the internet really seem to realize.

Miyazaki has kind of become the Wes Anderson of anime - his style has been meme'd and caricatured by people who haven't really engaged his work and probably haven't even seen much of his stuff. Most people act like all of his movies are just wholesome, comfy slice of life - when really, only Totoro and Kiki's Delivery Service are really consistenty like that.

Miyazaki's movies certainly have a pastoral vibe and have extended "cozy" sequences, but everyone forgets that those scenes are often followed by imagery of either mass destruction and violence or weird, fucked-up organic corruption. Everyone acts like Totoro is emblematic of the man's filmography, while forgetting that this is the same guy who made Porco Rosso, Castle in the Sky, Nausicaa, The Boy and the Heron and Princess Mononoke, all works that have either heavy themes, extended sequences of apocalyptic or unsettling imagery - hell, we're talking about the guy who got his start directing Lupin the Third

Miyazaki ain't no wholesome director. There's a real darkness in his work that the internet keeps whitewashing thanks to cinematically illiterate hipster-weebs

>>23266
>Kiki's Delivery Service are really consistenty like that
Even Kiki isn't without darkness either, it's got moments of tension and negativity and an overarching story that has some concern. Totoro is just pure comf.

>>24290
Even Totoro has some tension and negativity due to the mother. It's just an amount appropriate for little kids, who are the main audience for the movie.

>>476
I didn't know he did that, nice