MIFF 2014 - Day 10
This is by far the worst MIFF flu I've ever had. Usually I'm over it in a day, but no, four days and counting. If I find the person who decided to soldier on and infect a cinema's worth of people with their disease, I may have strong words with them. Very grumpy. That said, I'm back, sorta. Hopefully the worst is over.
The Kingdom of Dreams and Madness
Hayao Miyazaki is a cultural phenomenon, and this documentary tracks him as the makes what he's announced to be his final film, The Wind Rises. Following him around the office and home, we learn that Miya-san is a bit of a curmudgeon. Unsurprising, given he was 72 at the time the film was made, but given the warmth and humanity of his films, maybe a little surprising. He complains about the world changing, about people seeking happiness rather than meaning, all kind of things. One of the more important things he observes is the way the political climate in Japan is changing, and the implications that has for the movies he makes. But as well as complaining, we see the devotion of his staff to him, and the warmly antagonistic relationship he has with his longtime partner at Ghibli, Isao Takahata. Sadly, Takahata isn't in the film much, but his importance in Miyazaki's career isn't neglected. It's a great insight into the inner workings of Studio Ghibli, the creative tensions that exist and the crazy amount of work that goes into producing a Ghibli film. It also explains where the studio got its name, which is surprising.
The Kingdom of Dreams and Madness
Hayao Miyazaki is a cultural phenomenon, and this documentary tracks him as the makes what he's announced to be his final film, The Wind Rises. Following him around the office and home, we learn that Miya-san is a bit of a curmudgeon. Unsurprising, given he was 72 at the time the film was made, but given the warmth and humanity of his films, maybe a little surprising. He complains about the world changing, about people seeking happiness rather than meaning, all kind of things. One of the more important things he observes is the way the political climate in Japan is changing, and the implications that has for the movies he makes. But as well as complaining, we see the devotion of his staff to him, and the warmly antagonistic relationship he has with his longtime partner at Ghibli, Isao Takahata. Sadly, Takahata isn't in the film much, but his importance in Miyazaki's career isn't neglected. It's a great insight into the inner workings of Studio Ghibli, the creative tensions that exist and the crazy amount of work that goes into producing a Ghibli film. It also explains where the studio got its name, which is surprising.
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