#Aya Miyazaki

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Aya Miyazaki / 宮崎あや

[lachatalovematcha]

SHISHAMO「僕に彼女ができたんだ」

[naya-criticas]

Aya e a Bruxa

O último filme lançado do conhecido estúdio de animação japonesa Studio Ghibli, chamado アーヤと魔女 – Āya to Majo (Earwig and the Witch – Aya e a Bruxa), exibido no dia 30 de dezembro, na tv aberta japonesa, chegando para nós aqui no Brasil no dia 1 de setembro pela Netflix, traz uma trama simples sobre mudança de ambientes e questões sobre relações de controle, ao tratar de uma menina órfã, que até então tinha controle dos funcionários do orfanato e conseguia o que queria, mas ao ser adotada por uma família nova se vê obrigada a servir de empregada.

Dirigido pelo primogênito de Hayao Miyazaki – o maior nome do Studio Ghibli, responsável pelo roteiro e direção do filme A Viagem de Chihiro (2001), este que ganhou trinta e cinco prêmios, entre os quais incluem o Oscar de Melhor Filme de Animação em 2003 – Goro Miyazaki, o qual não supre as expectativas geradas por seu pai. O diretor gosta de brincar com os gêneros, gerando uma fluidez misteriosa para a história, com várias sugestões simbólicas, o que ele tentou apresentar em seu primeiro filme Contos de Terramar (2006).

Ao adaptar o livro da escritora britânica Diana Wynne Jones, a qual também emprestou um de seus livros para base do filme O Castelo Animado (2004) – outra adaptação de Hayao e outro sucesso – acabou por apresentar um roteiro fraco e confuso, de um modo diferente do seu primeiro filme, este que por sua vez é muito profundo, Aya e a Bruxa acaba sendo muito raso.

O filme a princípio mostra uma cena sobre o abandono de Aya pela mãe no orfanato com uma promessa de voltar, deixando a entender que a trama se voltará sobre essa promessa, o que acaba sendo esquecido durante todo o filme, gerando um desconforto quanto ao foco narrativo, este que gira em torno das situações que deveriam simular um cotidiano na nova família – mas acabam sendo monótonas – e a tentativa de Aya de conseguir o controle de volta, que acaba se desenvolvendo de uma forma superficial e corrida ao final do filme, abrindo também um gancho para a chegada da mãe verdadeira quando toda a relação milagrosamente estava muito boa depois de uma quebra de tempo.

A falta de explicações e desenvolvimentos mais profundos quanto ao passado da mãe de Aya e o foco no presente leva ao leitor a ideia de “leia o livro para entender tudo” ou “toda a história não coube em apenas um filme”, apesar de não aparentar que irá ter uma continuidade.

Um dos grandes diferenciais do filme é sua criação ser feita em 3D, já que o estúdio é conhecido por negar o uso de tal técnica e apresentar obras feitas a mão com cenários reconhecidos como lindos e únicos. Como o primeiro filme 3D se esperava uma mesma qualidade visual. Apesar dos cenários bem feitos e renderizados que buscam essa marca do estúdio – obra de Goro Miyazaki que é paisagista formado a anos e já demonstrou essa habilidade em seus outros filmes – e a tentativa de leveza de movimentos e expressões bem apresentadas dos personagens – características marcantes dos animes – a animação se apresenta travada e bem característica de filmes antigas, o que, ao tentar competir com outros estúdios de animação 3D da atualidade, se mostra quase como amador, necessitando de uma engine melhor e mais atualizada, o que pode ser percebido pela falta de movimento nos cabelos e na textura dos personagens.

Ano: 2020

País: Japão

Direção: Goro Miyazaki

Roteiro: Keiko Niwa, Emi Gunji (baseado na obra de Diana Wynne Jones)

Elenco: Kokoro Hirasawa, Gaku Hamada, Eva Kaminsky, Sherina Munaf, Miyuki Sahaku, Shinobu Terajima, Etsushi Toyokawa, Yûji Ueda

Duração: 83 min.

[diaryofdayet]

Mar 15 𓇢𓆸 Los Angeles

I made myself a cup of coffee and took a shower. Then I packed a backpack and walked to a thrift store nearby. For forty dollars I bought a nylon jacket that was disturbingly similar to one I'd just given away. Harlow called me and caught me up to speed as I walked to a coffee shop. She said she'd been hired by a ballet in South America. Soon she'd be dancing in Chile, Brazil, and Argentina.

At the coffee shop, I ordered a CD for Rosemary, booked a flight to Cleveland, and bought a new costume for The Play. At five, Aya arrived and we met in person for the first time. She was wearing loud purple earrings that matched my new jacket. She told me she and her boyfriend had taken mushrooms and watched the new Miyazaki movie on their first date. Her trip was so intense she thought she'd have to go to the mental hospital.

She walked me back to my temporary house, where I left soon after for Alex's dinner. He had spent all day making an elaborate gumbo for Stella, her sisters, and me, and we joked that it was the perfect gender role reversal. The gumbo was delicious. When we couldn't eat anything else, I sat at Greta's feet and watched everyone play video games while she braided my hair.

I left and paid a short visit to Gino and Kinsley, who were lounging on the couch in his living room. Though I'd just had a good time with Stella, the subject of our friendship (and recent fights) came up.

"I don't think a close friend should be treating you this way," Kinsley said.

I didn't know what to believe, though I knew my friendship with Stella was far from solid.

"I want to give it time," I protested.

They told me they were moving in together. It made me happy, I think. Had Gino told her about the confession I'd made the last time we'd seen each other? I hoped he had as I drove home.

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Dayet

[creativejamie]

Review of the cartoon "Aya and the Witch" / Aya to majo Explained: What’s Up With the Ending?

“Aya and the Witch” / Aya to majo Genre cartoon Directed by Goro Miyazaki Cast: Kokoro Hirasawa (Aya), Haku Hamada (Thomas), Shinobu Terajima (Bella Yaga), Etsushi Toyekawa (Mandrake), Sherina Munaf (Mother) and others. Pages NHK, NHK Enterprises, Studio Ghibli Year of issue 2020 (in Ukraine 2021) Site IMDb The initiator and director of the project was Goro Miyazaki, the son of Hayao Miyazaki. He…

[funjavcandids]

[peerless-cucumber]

Earwig and the Witch アーヤと魔女

2021 | dir. Gorō Miyazaki

ending credits

[anirobot]

Goro Miyazaki - Studio Ghibli - Earwig and The Witch - Mandrake, Earwig & Bella Yaga

[ofallingstar]

Earwig and the Witch (2020)

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Aya Miyazaki / 宮崎あや

[ghibli-collector]

‘Aya and the Witch’: (2020) Studio Ghibli Debuts Images From Its First Ever Fully CG Animated Feature. The film will air on Japanese tv channel NHK later this year and is directed by Goro Miyazaki (From up on Poppy hill and Tales from Earthsea) son of Hayao Miyazaki who is overseeing the project. What do you think? Please comment!

[monkey-network]

Good Stuff: Earwig & the Witch

For Ghibli’s first CG film, this was an admittedly nice nothingburger. I don’t hate it, but even with low expectations it feels like this film cropped out the substance you’d get from a typical Ghibli film to be mostly... nothing. Chock it up with serviceable animation and you give me such a subpar film, one that you can clearly see lacks meat.

The animation is alright for a first timer. It’s been clear that CG anime has not been as realized compared to the flexing studios of the west have done the past couple decades. Hell it took a couple years ago for us to not only to get one of the best looking films with Lupin the First and Stand by Me Doraemon, but the best looking series with Beastars and Land of the Lustrous. The environmental detail here looks amazing as well as the characters designs, I like the texture for the characters as it certainly comes off as recognizably Ghibli, but it's hardly as groundbreaking outside a couple moments in the feature’s climax.  Again, this being Ghibli’s first it’s not bad for what it is, but compared to what you get from America it can look remarkably awkward. It comes off as the film playing it safe instead of risking it for any more spectacle other than some cartoonish facial expressions. The characters come off more stiff than... Jimmy Neutron of all things and it doesn’t help that for most of the movie we’re stuck in one place with only four real characters. Speaking of which...

to preface, this guy is a good dad

Ghibli to me has always been about the characters, studies of how they grow as an individual in light of having to live their life regardless of what forces come their way, supernatural or otherwise. Earwig... hardly does anything. She’s generally the same at the end as she is in the beginning; Earwig just wants others to do what she says and that motivation never gets challenged. She’s hardly concerned about the mother who abandoned her, never cares about befriending anybody since she can’t go anywhere, anything revolving around the band she listens to, her own name, it’s focused more on the routine she’s forced to do until she finally gets back at the witch. Said bossy witch that adopts her kinda just... stops being an asshole after the climax and we don’t get to see her growth and chemistry with the girl beyond being more bashful at Earwig’s energy than irritated. Not that said witch is that abusive toward Earwig, she’s just strict with chores and rules of the house. Heck, the effectiveness of any witchcraft from the actual witch barely exists in this, best you get is in the slapdash of a climax. Earwig’s friend from the orphan house is constantly mentioned but it’s doubtful that you even care about him as much as the film wants you to believe. The Mandrake’s the best character in the whole film and even then his chemistry with Earwig is string thin until the last few minutes. 

Like not even the cat could salvage this and that’s the biggest crime here

The biggest problem with the film is that it never commits to anything interesting and everything interesting is anti-climatic at best. Shit, the film would’ve been a whole lot better if we got to see Earwig and Bela Yaga actually bond throughout the film; the Mandrake forcing Bela to actually be there for their new child. We could’ve actually given Earwig the chance to be more of a witch beyond the one moment with her and the black cat. It’s like you take Kiki’s Delivery Service or Spirited Away and strip away any meaningful irreverent interaction the MC has with anybody. The film put the plot ahead of its character and I can definitely see why many could and would not like this. 

Again, I don’t hate this film because Earwig herself and the Mandrake were really what kept me from getting full on bored with this. Call me the outlier, but there’s an enjoyment seeing Earwig wonder about the house, be mischievously optimistic, like I can’t be too mad at her outlook even when there are clearly better protagonists. I enjoyed this film, but that doesn’t mean it’s a good film. It’s a serviceable, but a very hallowed feature that doesn’t get a pass just because it’s Ghibli. I can’t even defend this film that much as it genuinely hurts me more that a good film is visible there in many places but you’d have to uproot the whole plot to make this more filling for your time. Can’t even recommend this unless you sincerely have nothing better to do. I can’t tell you how good it is as an adaptation of the novel it’s based on, but Earwig and the Witch doesn’t live in the shadow the studio’s glory, it’s an inexcusable front and center flop.

2 Out of 5; A diluted, ill-effective charming spell.

[neovallense]

[forbodium]

ronja “cameos” in earwig and the witch

if you’ve watched studio ghibli’s cg cartoon “ronja the robber’s daughter”, you will see some familiar faces in goro miyazaki’s new film.

first up, noddle-pete in the role of mr. jenkins:

lovis as the female cook:

and fjosok as the male cook:

lill-klippen (now a woman) and knotas have been turned into a married couple:

also in the nursery are a woman who looks a lot like undis and a baby with some familiar crazy hair: 

next we have ronja in a wig (though her face has been edited. custard is also probably an edited version of birk. when the orphans are lined up, custard and this little girl are conspicuously the same height):

here’s tjegge as a passerby with a tiny little backpack (what’s in it? probably something stolen):

ok, now for my favorite. i was nudging my mom in the theater even though she’s never seen ronja. i hope the one other person in the audience didn’t mind how hard i laughed at earwig almost getting hit by a truck

mattis driving said moving truck:

this is the face of a responsible driver who definitely didn’t almost run over a little girl.

ALSO. the moving truck belongs to the “mattis brothers” company. do i recommend this moving company? absolutely not. your valuables are bound to go missing, and they don’t even have a proper phone number.

i didn’t know mattis had a brother.

that’s about it, though there might be more that are more subtle or heavily edited. i don’t mind the studio reusing these models at all. i only noticed a couple of them during the first viewing (lovis and mattis), and those made me happy to see because i love those characters

finding lill-klippen turned into a posh lady when i went back to search was a trip though

[emikothewriter]

Anime Movie Review: Earwig and the Witch

Guess what I found on Netflix? Had to check out and review the latest #ghibli #studioghibli movie.

When news of Earwig and the Witch came out, I remember reading about how controversial it was to have Studio Ghibli create their latest animated feature film using CGI. The comments section feared this major change of shifting from traditional techniques where beautiful sceneries and details are done by hand to click buttons and computerizing the entire process. In some way, future projects to be…

[newsintheshell]

🍿 EARWIG E LA STREGA: IL FILM È DISPONIBILE SU NETFLIX! ▶️ GUARDA ORA

Il lungometraggio diretto da Goro Miyazaki (I Racconti di Terramare, La Collina dei Papaveri) e realizzato in computer grafica presso lo STUDIO GHIBLI, è tratto dal romanzo per ragazzi di Diana Wynne Jones, autrice anche del più conosciuto “Il Castello Errante di Howl”. L’opera è pubblicata in Italia da Salani Editore.