There is a longstanding discussion point within the film community about how much of the narrative should be explained to the viewer, with many arguing that ambiguity is good for creating a bit of mystery and intellectual resonance; that the director should not spell everything out for the public.
The Boy and the Heron arguably pushes this approach too far. Too many actions and words are left unexplained. In the end, it leaves you with a sense of wonder but also an unsatisfactory feeling, as if some of the scenes were cut from the final version. This forces people to analyse and overanalyse that, which isn’t there.
The story centres on Mahito, a young boy who loses his mother in a fire during World War II. The father remarries the boy’s aunt and moves to their family’s old estate, where the boy comes across a mysterious tower and uncovers his family’s involvement with it. The work deals with themes of grief, suffering, escapism, family legacy and growing up.
The animation is in Miyazaki’s classic style, mixing hand-drawn style and CGI very effectively. Surrealist imagery helps create emotional depth. Miyazaki’s trademark high level of detail is here along with the magical vibe found in his earlier masterpieces.
Joe Hisaishi’s score is minimalistic but effective. It is deeply emotional, dark and haunting.
In short, The Boy and the Heron takes you on an emotional dreamlike adventure, but it expects you to get on board without asking any questions, and then leave when the ride is over, even though your head is still riddled with questions.