Short film review – やどさがし / Looking For A Home (Hayao Miyazaki, 2006)

Looking For A Home is a short film that was written, produced and directed by Hayao Miyazaki for Studio Ghibli. It is shown exclusively at the Studio Ghibli Museum in Mitaka, Tokyo, Japan [1].

The film follows a girl as she sets out from her home on a trip away from her busy city dwelling to the calmer countryside, through forests and into a tiny cottage she discovers along the way. At each point she thanks the aspects of nature she experiences (a fish, the trees, etc.) with an apple. Everything is represented by a unique human-voiced sound which are also written out on the screen to humorous effect.

This is a perfect short film to experience at the Studio Ghibli Museum for non-Japanese speakers, because the whole thing is very visual and the audio can be enjoyed without any understanding of Japanese. It is a sweet film aimed at children but, as with most of the output from Studio Ghibli, it is equally enjoyable for adults too.

[1] The Ghibli Museum has a small cinema called The Saturn Theatre. In this, they show one of nine short films for visitors on each day. Each visitor gets one ticket to the short film selected for that day so there is no chance of seeing more than one per visit. It is complete pot luck what you’ll see on your visit.

Film review – 千と千尋の神隠し / Spirited Away (Hayao Miyazaki, 2001)

Whilst Studio Ghibli has been a powerhouse of cinema in the East for many decades – since being born of the release of 風の谷のナウシカ / Nausicaä of the Valley of the Sea in 1984 – many Western cinema-goers weren’t introduced to the wonders of the animation house until 2003. This was the year that Spirited Away reached the wider audiences after being nominated and winning the Academy Award for Best Animated Feature.

Those whose interest was peaked enough were rewarded with a fantastic picture realised in beautiful 2D traditional animation. Its use magically imaginative turns that seemed uniquely Eastern mesmerised the audiences, allowing its popularity to grow through word of mouth and causing a renewed interest in the studio’s back catalogue. 

The story itself follows ten-year-old girl Chihiro who is moving house to a new and unfamiliar location with her parents (a familiar opening gambit in a Ghibli picture). Accidentally stumbling upon an abandoned amusement park, her mother and father greedily consume some mysterious but luxurious food whilst Chihiro investigates the surroundings. By the time she returns, her parents have turned into pigs and she cannot escape, forcing her to go deeper into the mysterious world to try to work out how to turn her parents back to humans and allow her life to return to normality.


In its most basic form, it is a coming of age tale akin to Alice in Wonderland, with a setting that is just as supernatural as the western equivalent. She is forced to find her identity as an adult after having her childhood identity removed from her – including her name – and only by doing so can she bring back her parents.

Whether this means the film is set in a supernatural world, or the middle portion of the film is simply a figment of her imagination is open to debate. Certainly the possibility is there that she has slipped into a dream and this is a manifestation of her fears and resistance to growing up. However, Miyazaki clearly decided to show that Zeniba’s hair band was still in her hair after her return to the “normal” world, a move to clearly show this wasn’t a dream at all. A subtle but sweet reveal.

It was a reminder of how to do it properly. Disney was yet to move away from traditional animation in favour of the 3D animation being celebrated by the likes of Pixar and Dreamworks, instead releasing both Lilo and Stitch and Treasure Planet in the year this reached western cinemas.

In contrast, Studio Ghibli wasn’t afraid to aim squarely at a more adult audience, and hadn’t been for years. Spirited Away was just the tip of the iceberg – representative of a rich body of work but standing out as one of their greatest achievements.


The Wind Rises / 風立ちぬ (Hayao Miyazaki, 2013)

“I am talking about doing something with animation that can’t be done with manga magazines, children’s literature, or even live-action films.”

It’s that last line that really bothers me. That was Hayao Miyazaki talking, in 1978, about what animation means to him. It wasn’t a hard quote to locate. I only started reading his autobiography (of sorts), Starting Point, five minutes ago. It was right there in the third paragraph of the first page.

I don’t think there’s any denying that, when looking back at the career of one of the greatest and most imaginative directors of all time (and I’m not limiting that to animation either), he has created a body of work that surpassed that which would have been capable in any other medium. If you look at Nausicaä, Princess Mononoke, even his work on Sherlock Hound The Detective, it’s difficult to see how any other medium mentioned above could have portrayed his story any better than in 2D animation.

So when I was sat there at the cinema watching The Wind Rises, even before I read that opening quote, I couldn’t help but wish for the magic to ooze back into play. I was with a fellow anime fan and another friend who was unaware of any of his output, and we all agreed that the film could have been better served as a live-action film. There wasn’t really any call for the animation. Yes, it looked visually stunning as usual, but it didn’t add anything to the story.

It’s sad that Miyazaki has chosen to finish his body of work with this film. Don’t get me wrong, it is definitely not a terrible film and it won’t tarnish his reputation. The story is solid, the characters well-realised, the backdrops deep in detail. It’s just a bit of an anticlimax after a series of such amazing films.

One for the completists and die-hard fans, but if you’re new to Miyazaki, you’d be better to start with Howl’s Moving Castle or Spirited Away.

The Wind Rises is out in cinemas in the UK now. Reviewed was the Japanese version with English subtitles.