There's a B-narrative about a broken-up rock band that muddies the waters a bit, whose reveals are sloppily obvious and yet simultaneously downright confusing for younger viewers. The story is mostly fine, based on a children's book by fantasy author Diana Wynne Jones (the second Ghibli film to be based on her work, after Howl's Moving Castle).
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With the help of Bella Yaga's talking black cat familiar Thomas, Earwig vows to learn how to charm Bella Yaga and the Mandrake into doing her bidding. When she's adopted by a blue-haired witch named Bella Yaga and her Nosferatu-sized housemate the Mandrake, Earwig is dismayed to learn that the witch has no intentions to teach her magic, and plans to simply use her as an assistant for her spells. It was weird, then, that director Gorō Miyazaki, Hayao Miyazaki's son, chose to use the studio to make his latest movie, Earwig and the Witch, entirely in 3D computer-generated animation-a first for Studio Ghibli, and, hopefully, the last.Įarwig and the Witch (released earlier this week in theaters and available now in HBO Max) is the story of young orphan girl Earwig, dubbed Erica Wigg by the orphanage's staff and Āya in the Japanese version, a precocious child whose rigid pigtails evoke the pincers of her namesake and who basically runs the place with her young friend Custard.
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Ghibli's films, most of their very best directed by the legendary Hayao Miyazaki, are alive with color and movement, the kind of movies whose tiniest moments-raindrops falling on a sidewalk, fields of grass moving in a breeze, a character flipping their hair or slicing food-can be rewatched over and over again. There's a reason Japanese animation studio Studio Ghibli is known as one of the last champions of hand-drawn animation long after the Western world turned their attention to CG: They're damn good at it.