![]() As previously announced, Taika Waititi’s sports-centric “Next Goal Wins,” Alexander Payne’s comedy “The Holdovers,” Kore-eda Hirokazu’s tear-jerker “Monster” and Justine Triet’s Palme d’Or winner “Anatomy of a Fall” are among the festival lineup. GKIDS is distributing “The Boy and the Heron” in North America, where it will be released in theaters later in 2023. TIFF will be the first time that people outside of Japan will watch the film. Since then, it’s been revealed the story follows a boy named Mahito Maki, who discovers an abandoned tower in his new town and enters a fantastical world with a talking grey heron. The company boldly launched the film without any promotion, marketing materials or plot description, so that audiences were able to discover the twists and turns of the story without any expectations. “The Boy and the Heron” was released earlier this year in Japan, where it generated $13.2 million in its opening weekend to become the biggest debut in Studio Ghibli’s history. I look forward to our audience discovering its mysteries for themselves, but I can promise a singular, transformative experience.” “Already acclaimed as a masterpiece in Japan, Hayao Miyazaki’s new film begins as a simple story of loss and love and rises to a staggering work of imagination. “We are honored to open the 48th Toronto International Film Festival with the work of one of cinema’s greatest artists,” said Cameron Bailey, CEO of TIFF. com/file/d/1aDkrxHs8r4wa7DvnocJ9kJDfE7zTvRh6/viewDisclaimer-All the videos songs image1080p 720p Adventure Fantasy Spirited Away During her. ![]() While several releases from Studio Ghibli, which Miyazaki co-founded, have screened at TIFF - including 2016’s “The Red Turtle” and 2002’s “Spirited Away,” this is the first time a Japanese film or an animated film has been selected as the festival’s opening night film. Miyazaki wrote and directed the movie, marking the acclaimed filmmaker’s first feature in 10 years. It is not a strategy that would work for everyone.Director Hayao Miyazaki’s animated fantasy epic “The Boy and the Heron” will open the 48th edition of the Toronto International Film Festival. The enormous success of anime in general, and its own ardent following in particular, gave Studio Ghibli the bespoke option of excising marketing costs, which can amount to as much as 50% of a film’s budget. Though this may indeed be the case, given that he is 82 and it has taken him more than five years to animate this film, he has cried wolf several times before.Īt a time when the international film industry is floundering in a perfect storm of unfeasible cost-to-box-office ratios, cinema audiences yet to return to pre-Covid levels, and striking writers and actors, the real lesson of the quiet success of How Do You Live? might be that a unique vision such as Mr Miyazaki’s offers unique solutions. The studio also laid down a powerful sentimental lure with the suggestion that this would be Mr Miyazaki’s final film. The latter was the studio’s first full length venture into computer generated imagery.Įxplaining the absence of advance publicity for How Do You Live?, Mr Suzuki said: “In this age of information technology, I thought that the lack of information itself would be entertaining.” It is, of course, not quite as simple as that: the paucity of information unleashed viral flights of blue herons across social media. His son, Goro Miyazaki, has since joined the studio, with adaptations of novels by Ursula K Le Guin and Diana Wynne Jones. Mr Miyazaki’s own films include the Oscar‑winning Spirited Away Howl’s Moving Castle and the early cult hit, My Neighbor Totoro, which found a whole new audience in the UK last year after being adapted into a multi award‑winning stage show. Set up by Mr Miyazaki in 1985 with fellow director Isao Takahata and producer Toshio Suzuki, the studio created an international foothold by going into partnership with Disney, while protecting itself from Disneyfication with a strict “no edits” policy that has been more or less obeyed. This compliment loses nothing in translation, since Studio Ghibli is up there with Pixar and Marvel as being its own global benchmark, with its own gently charming aesthetic, passionate fanbase and museum. ![]() The film’s UK and US releases are probably more than a year away, but word from Japan was that it is “very Ghibli‑esque”. Extraordinarily for a notoriously leaky industry, not a single drop of plot or character detail (both reportedly independent of the book) had escaped from what was described by Mr Miyazaki’s Studio Ghibli only as a “grand fantasy”. ![]()
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