Whenever the documentary shows Miyazaki squinting his heart out through the smiles of children, offering a trembling handwave or jellybeans, it feels bigger than The Boy and the Heron. More than the backaches, it’s his enduring resignation to his craft that proves how much he wants hope to permeate further than his life.
Creation is just the half of it.
How do you create such an emotionally resonant film with so much quiet space between important expository moments? Hou certainly can.
an addendum to my comment on CleverGurl's review of this film.
yesterday will always be yesterday left a bitter aftertaste in me. First of all, I wanted to say that I was really taken aback by how daring the direction was. It flowed seamlessly for it's stiffened by a superb cinematography. The endeavor to use ambiguity as a stylistic overtone in direction is applaudable however I believe that it was executed poorly. The film was very unfocused; it tried to…
The sweetest "I love you" I've witnessed in cinematic form—a form that is also lovingly and naturally celebrated in the spaces from which that statement sprouted.
This is clearly Hong's love letter to filmmaking, his partner, and the moving rarities gleaned from the ordinary.
