Called a masterpiece by many and featured on many best-of-the-21st-century lists, Director Wong Kar-wei has created a thing of singular beauty. Every frame is an artwork (painted, as it were, with help of cinematographer Christopher Doyle) in this meticulously and beautifully crafted film about the unrequited love of two people renting adjacent rooms in 1960s Hong Kong. These two people, played by Tony Leung and Maggie Cheung, struggle to stay true to their values rather than give in to their desires, while they both suspect their spouses of extramarital activities. The flawless acting, stunning visuals, and dream-like beauty of In the Mood for Love perfectly captures the melancholy of repressed emotions and unfulfilled love. The cello motif of Shigeru Umebayashi's main theme will haunt you long after you finished watching.
Chasing the feel of watching Spirited Away ? Here are the movies we recommend you watch after Spirited Away (2001).
Frequently considered one of the greatest animated movies of all times, and certainly the highest-grossing film in Japanese history, Spirited Away is Hayao Miyazaki and Studio Ghibli at their very best. It was also the first non-English animation movie to win an Oscar. On the surface, it's a film about a Chihiro Ogino (Hiiragi), a young girl who stumbles into an abandoned theme park with her parents. In a creepy spiritual world full of Shinto folklore spirits, she sees all kinds of magic and fantastic creatures, while having to find a way to save her parents and escape. In addition to the adventure, the coming-of-age theme, and the motifs of ancient Japanese lore, the film can also be understood as a critique of the Western influence on Japanese culture and the struggle for identity in the wake of the 1990s economic crisis. A deep, fast-paced, and hypnotizing journey.
Hayao Miyazaki is no stranger to the fantastical. Howl’s Moving Castle and Spirited Away conjure worlds of spirits and demons, monsters and witches, imaginary wars and extraordinary heroes. But in Kiki’s Delivery Service, the real magic arises from the mundane.
The titular teenaged Kiki leaves home, setting out to become a better witch. She arrives in the idyllic seaside town of Koriko with only her broom and best friend, a black cat named Jiji. When she serendipitously meets Osono, the gentle owner of a bakery, Kiki begins a delivery service as part of her training.
Kiki’s Delivery Service may be one of Miyazaki’s more understated films, but it’s a beautiful reminder that believing in oneself is a magical act of courage that we should all undertake.
Studio Ghibli has brought us moving, remarkable animated films such as Spirited Away, My Neighbor Totoro, and Princess Mononoke. One of Studio Ghibli’s most overlooked movies is Yoshifumi Kondou’s Whisper of the Heart, which finds magic in the ordinary every day. Shizuku is a young girl with great aspirations to become a writer—the only thing stopping her is herself. When she comes across a curious antique shop, she befriends a mysterious boy and his grandfather, who are just the push she needs to look inward and discover her own artistic capabilities.
If you have ever wanted to create something bigger and better than yourself—a story, a song, a poem, a painting, a work of art—then Whisper of the Heart will excite you, will call to you, will remind you to answer your heart’s calling.
This beautiful, realistic, and nostalgic anime movie about childhood is one that almost anyone can relate to. Set in the year of 1982, twenty-seven-year-old Taeko Okajima is traveling to the countryside by train. Along her journey, she gets flashbacks of her childhood: mostly in elementary school, stealing glances at a boy, and navigating puberty. The movie goes back and forth between past and present, easily making one long for sun-filled summers of yesteryear and silly jokes between playfriends. As well as telling a story about Taeko's past, Only Yesterday also tells a story about her present, and the combined realism of the plotline with the beautiful animation grips you and doesn’t let go. Only Yesterday truly feels like home.
In what was originally intended to be his final film, Hayao Miyazaki is at his most lucid with The Wind Rises. Fluid and luminous, it cleanly moves between a grounded, historical reality and an intuitive, imaginative dreamscape. Here Miyazaki reflects on the process of creation and what it means to be an artist, drawing parallels between his own meticulousness as a filmmaker with Horikoshi’s immutable passion for flight and efficient design.
But questions of responsibility and duty arise, as Horikoshi—and by extension, Miyazaki—must reckon with the reality that even things as beautiful as aeroplanes can be destructive, and that even dreams can be violent. This meditative film does not offer any easy answers but it provides solace in its prevailing sentiment: The wind is rising, we must try to live.
As impressive as Studio Ghibli’s collection of films are, I am still stubborn to believe that Porco Rosso is its most underrated film. Porco Rosso, directed by Hayao Miyazaki, is the story of a World War military aviator-turned-bounty hunter who has mysteriously been transformed into a pig.
Bright with humor, heart, and flight (Miyazaki is largely influenced and inspired by the art of aviation), Porco Rosso manages to also acknowledge and reckon with the horrors of war. It also boasts one of, if not the greatest, line in any Ghibli film: I’d rather be a pig than a fascist.