I had the immense privilege to attend the New York Film Festival on Saturday 28th of September, and watch a screening of The Wind Rises. Being Hayao Miyazaki's last film (as far as we know), and a Studio Ghibli creation, expectations were high. I, along with a vast audience of maybe 300 people, got to enjoy a wonderful story the way it should be enjoyed: on the big screen, with fellow enthusiasts and loved ones held close.

*The original article can be found here*
 
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My Neighbor Totoro, while being one of Studio Ghibli's most important films, is also director Hayao Miyazaki's most universally iconic. Riding off the success of Nausicaa of the Valley of the Wind (1984) and Castle in the Sky (1986), Miyazaki decided to take a leap of faith and do something that would hit a little closer to home for him. Studio Ghibli's two previous films had garnered their success by playing to the public desires of animation at the time; magic, fantasy and futuristic plots and themes were extremely popular in Japan, and it was thought that anything else would prove to be a failure. But My Neighbor Totoro proved to be everything but a failure, eventually becoming a globally recognized figure, and being adopted by Studio Ghibli as their logo/mascot. 

Originally released in 1988, it actually took 10 years for Miyazaki to fully develop the story, while still making changes halfway through production. The idea for the film came during a time when Miyazaki was most unhappy about his career. He had just been offered to do a children's show on a Japanese television network, but he knew if he accepted, he would be giving up his own artistry and point of view. So, instead, he began writing what he thought would be a children's book, which ended up being a life-changing story. 

*The original article can be seen here.*

 
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**This review is mostly spoiler free, but proceed with caution.**

Studio Ghibli has been known for its amazing imagery and intricate storytelling, incorporating everything from the supernatural (Kiki's Delivery Service), to the futuristically natural (Nausicaa of the Valley of the Wind), to the anachronistically wonderful (Castle in the Sky). However, every once in a while they do something a little different. Similar in tone and approach as Only Yesterday, From Up on Poppy Hill is a rarity in the world of animated films. It attempts to balance a coming-of-age romance story, with the pivotal self discovery of our two protagonists. 

*The original article can be seen here.*

 
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I would like to preface this article by saying that I have thought long and hard about this and by no means is anything following this meant to offend any nation or institution. This is an article of pure opinion with a foundation of research and serious, sensitive contemplative thought. (Also, please note this article will only focus on Pocahontas and not the sequel as that lends for enough material to fill an entire novel.)

I was only 6 or 7 years old, and already in love with animation when my parents took me to the cinema for the first time. As we walked down the darkened isle to find our seats, an electric feeling of overwhelming excitement took me over. The Disney logo lit the screen and I was soon submerged in the story that I have now, many years later, come to love, and hate with a conflicting passion:Pocahantas. Having spent my childhood and adolescence romanticizing this film, and now my adulthood rationalizing and deciphering every inch of it, I am no closer to feeling resolved about it. I have, however, finally begun to articulate my mixed feelings about one of the most topical films Disney has ever released.

*The original article can be seen here.*