For a Western world raised on Disney movies, Spirited Away was a bracing change of pace – pure, uncut Studio Ghibli. Taking in bathhouses, spirits of Shinto folklore, and morality without clear-cut distinctions of good and evil, Hayao Miyazaki’s major crossover hit is distinctly Japanese.
Its narrative arc and characters feel notably different to more conventional British and American animations – from the eerie, inscrutable No-Face, to sort-of-antagonist bathhouse owner Yubaba.
But that’s also a major reason why it connected – Spirited Away accessible, but nothing about it feels watered down. It is, of course, utterly beautiful too – boundlessly imaginative, steeped in gorgeous colour, and stunningly scored by Joe Hisaishi.
Among the cultural specificity a coming-of-age universality in young hero Chihiro, forced to fend for herself when her parents turned into pigs, using her resourcefulness and her friendship with boy-dragon-spirit Haku to earn her freedom from the spirit world.
It’s the film that brought Studio Ghibli – and anime at large – to mainstream Western audiences, an influence increasingly felt in the likes of Moana and Frozen II.
Captain America: Civil War
The third “solo” Cap trip figured out how to be both seriously swarm satisfying (with that entire air terminal fight, and the presentation of Tom Holland’s Spider-Man) and furthermore boldly keen, setting its superheroes in a convincing international setting that raised a legitimate good issue: who ought to be liable for the arrangement of such extraordinary force?
Chan-wook Park’s vengeance dramatization does limit with a capital Eeek. Torment through 15 years of lone? Check. Mallet using viciousness? Check. Interbreeding? Check. Live octopus-eating? Check, check, toss up. However, it never feels crowbarred-in. It’s all important for the delightfully dim and stunningly executed excursion.
It may have kicked off the whole CG-animation revolution (for better or worse), but it’s not the once-novel visual medium which makes Pixar’s first feature one of cinema’s greatest treasures. The clue’s in the title: it a perfectly formed story, about friendship, love, fear of abandonment, workplace politics and self-identity. While its ability to make you laugh is undiminished.
A Clockwork Orange
The controversy surrounding Stanley Kubrick‘s pop-art visualisation of Anthony Burgess’ dystopian mediation on violence and free will may have long-since subsided, but the film’s no less powerful. Especially that “Singin’ In The Rain” sequence, which remains one cinema’s most deeply upsetting. ดูหนังออนไลน์ฟรี