TIFF’s Opening-Night Film ‘The Boy And The Heron’ Sells Out Even Though Hayao Miyazaki Won’t Be There

Nick Vivarelli International Correspondent U.S. director Darren Lynn Bousman’s English and Arabic-language horror film “The Cello,” starring Jeremy Irons and “Saw” star Tobin Bell, is set to open theatrically across Saudi Arabia on Thursday, marking a significant moment in the kingdom’s moviemaking ambitions. The high-end chiller, about a cellist who finds out his new instrument comes with a centuries-old curse, is generating local buzz and robust ticket pre-sales following its gala premiere on Sept.

Brent Lang Executive Editor Elysian Film Group, Anonymous Content and Bleecker Street have jointly acquired the U.K. rights to “The Boy and the Heron,” the first film from legendary animator Hayao Miyazaki in a decade. Elysian Film Group will release the film in U.K.

Elysian Film Group, Anonymous Content, and Bleecker Street have jointly acquired UK rights to The Boy and the Heron, the latest feature from celebrated Japanese filmmaker Hayao Miyazaki.

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his last flick, “The Wind Rises,” and it’s assumed he won’t churn out another after this.However, should this be the end of the road for him, take heart that the Japanese director’s visual majesty and uncontrollable imagination are as fully present as ever. And so is his unparalleled understanding of what makes children tick. A filmmaker rarely goes out with his head held so high.“Heron” is not as perfect as some of Miyazaki’s past movies.

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Brent Lang Executive Editor The Toronto International Film Festival kicked off its 48th edition with the North American premiere of “The Boy and the Heron,” the first feature from animation icon Hayao Miyazaki in a decade and the picture that is likely to serve as his cinematic swan song. The 82-year-old filmmaker isn’t doing any promotion for the film, so he wasn’t on hand at the Princess of Wales Theater on Thursday to look out at the adoring crowd of film lovers, who cheered every time his name or that of Studio Ghibli, his creative home, was invoked.

No one can predict if Japanese master Hayao Miyazaki’s output has finally come to an end, but there’s a solemn finality to “The Boy and the Heron” that suggests he’d be satisfied if that were the case this time. Its contemplation is that of an artist who’s come full circle and is now probing at the very meaning of his extensive oeuvre through a discerning lens.

Hayao Miyazaki wasn’t here in Toronto tonight to fire up TIFF at the international premiere of his movie, The Boy and the Heron, but 3x Oscar winner Guillermo del Toro was.

Peter Debruge Chief Film Critic More often than not, Hayao Miyazaki’s heroes have been young women — from Ponyo to Princess Mononoke, mischief-seeking Kiki to the two sisters spirited away by furry forest guardians in “My Neighbor Totoro.” That’s the most obvious departure the anime maestro’s fans will notice in “The Boy and the Heron”: It’s about a boy, Mahito Maki (voiced by Soma Santoki), grieving the loss of his mother during wartime. He’s surrounded by women, but this quest falls on the shoulders of a character who’s reportedly closer to Miyazaki than any of his previous protagonists.

In cinema, few names are as iconic as Hayao Miyazaki, and his latest adventure carries the weight of expectation. Drawing inspiration from the mysticism of Japanese folklore and grounded in the pain of personal loss, The Boy and the Heron, which opened the 2023 Toronto Film Festival, is a visual spectacle that rekindles the art of 2D animation in an era dominated by the digital.

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A new film by Hayao Miyazaki filmmaker (or anything from animation house Studio Ghibli) is always worth celebrating. And for Miyazaki’s first feature film in a decade, TIFF pulls out all the stops.

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Jaden Thompson Studio Ghibli has pulled back the curtain on Hayao Miyazaki’s animated fantasy epic “The Boy and the Heron,” the director’s first feature since his 2013 drama “The Wind Rises.” The movie will get a U.S. theatrical release on Dec. 8.

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