Miyazaki announced his retirement in September 2013 but later reversed this decision after working on the short film Boro the Caterpillar, which was released in 2018. He began storyboarding for a new feature-length project in July 2016, and official production began in May 2017. The film's title was announced in October 2017, targeting a release around the 2020 Summer Olympics. By May 2020, 36 minutes of the film had been hand-drawn by 60 animators, with no set deadline. Production spanned approximately seven years, facing delays as it navigated challenges related to the COVID-19 pandemic and Miyazaki's slowed animation pace, before nearing completion in October 2022. Financing for the project involved streaming deals for previous Ghibli films. According to producer Toshio Suzuki, The Boy and the Heron is the most expensive film ever produced in Japan. The screenplay draws heavily from Miyazaki's childhood, and explores themes of coming of age, and coping with a world marked by conflict and loss. Joe Hisaishi composed the film's score, while Kenshi Yonezu wrote and sang the film's theme song "Spinning Globe".
The Boy and the Heron was theatrically released in Japan on July 14, 2023, by Toho, and was screened in both traditional theaters and other premium formats such as IMAX. The release of the film was noted for its intentional absence of any promotion, with Ghibli choosing not to release any trailers, images, synopsis or casting details of the film in advance of its Japanese premiere with the exception of a single poster. The film received critical acclaim and has grossed over $118 million worldwide. It was nominated for many awards, including Golden Globe Award nominations for Best Animated Feature Film and Best Original Score.
Plot
In 1943, during the Pacific War, 12-year-old Mahito Maki's mother Hisako is killed in a hospital fire in Tokyo. Mahito's father Shoichi, an air munitions factory owner, marries his late wife's younger sister, Natsuko. They evacuate to her estate in the countryside, attended by several old maids. Mahito is indifferent to the affection of the pregnant Natsuko. A grey heron, which behaves outlandishly, leads Mahito to a derelict tower, sealed after its architect, Natsuko's eccentric granduncle, disappeared within.
Mahito tussles with other children after school, then deliberately gashes his own head with a rock before returning home. Shoichi, assuming Mahito was victimized, excuses him from school. The heron, now speaking, goads the convalescent Mahito with promises of finding his lost mother. Though suspicious, Mahito is nearly taken by a supernatural swarm of toads. Natsuko saves him with a whistling arrow, inspiring Mahito to craft his own bow and arrow. The arrow is magically imbued with true aim after fletching with the heron's feather. Meanwhile, Mahito finds a copy of How Do You Live? bequeathed from his mother.
Natsuko, ill and estranged by Mahito's coldness, disappears from her sickbed. Leading one of the searching maids, Kiriko, into the tower, Mahito is deceived by an imitation of his mother made by the heron. Affronted, he pierces the heron's beak with his arrow, transforming the heron into a diminutive, flightless birdman. A wizard appears, ordering the birdman to guide Mahito and Kiriko as all three sink into the floor.
Mahito descends alone into an oceanic world, containing artificial objects but little life. He is rescued from attacking pelicans and a forbidding, megalithicdolmen by a younger Kiriko, an adept fisherwoman who uses magic. They catch and sell a giant fish to bubble-like spirits called Warawara, which fly to the world above to be reborn. A pyrokinetic young woman, Himi, protects Warawara from predation by pelicans. A dying pelican explains that their species is desperate to survive after being introduced to this world with no other food.
Kiriko mediates peace between Mahito and the birdman, and Mahito plugs the birdman's beak, restoring his flight. Himi saves Mahito from anthropomorphic man-eating parakeets, and shows him a counterpart of the tower which contains doors to many worlds. They enter a door leading back to Natsuko's estate and are found by Shoichi, who has come to investigate the tower, but Mahito returns through the door to continue his search.
Infiltrating the parakeets' kingdom, Mahito and Himi are repelled by shocks of energy from sentient stone. Mahito finds Natsuko in a delivery room, where both are painfully entangled in paper streamers strewn by violent wind as Natsuko indignantly rebuffs Mahito. In return, he acknowledges her as his mother. Himi incinerates the paper, but all three are worn unconscious by the encounter.
In a dream, Mahito meets the wizard, Natsuko's granduncle. The wizard, preoccupied by a teetering stack of stone toy blocks representing the world, requests Mahito, possessing the power of his bloodline, to succeed to custodianship of the world; Mahito warns that the blocks are infused with malice.
Waking up, Mahito is freed from captivity by the birdman. They climb the tower to pursue the Parakeet King, who is delivering Himi to the wizard as a political bargaining chip. The King spies Mahito and the birdman arriving and tails them furtively. The wizard has collected replacement blocks, free of malice, for Mahito, but Mahito understands that he himself possesses malice, embodied by his self-inflicted scar, and must first embrace those who love him.
Enraged by the frivolity of the toy blocks, the Parakeet King slices them apart. The world begins to collapse and flood, and Mahito, Himi, and the birdman escape to the doors, reuniting with Natsuko and young Kiriko. Understanding that Himi is his birth mother, Mahito warns her of her fate, but Himi returns to her own time without regrets. Mahito returns with Natsuko, amidst an exodus of animals that revert to zoomorphic forms. The birdman notices Mahito keeping a stone of power, and advises him to eventually forget his experiences. A charm doll carried by Mahito transforms back into the old Kiriko. Two years later, Mahito moves back to Tokyo with Shoichi, Natsuko and his new half-sibling.
The Boy and the Heron has autobiographical features. The protagonist, Mahito Maki, is modeled after Miyazaki's childhood. Miyazaki's father, similar to Mahito's father, was employed by a company involved in the manufacturing of fighter plane components. Additionally, Miyazaki's family had to evacuate from the city to the countryside during the war.[3][c] The hospital fire at the beginning of the film evokes personal parallels with Miyazaki's own loss of his mother,[5] who was known for her strong opinions and is believed to have been a source of inspiration for several of the director's female characters, and Mahito's emotional connection with his mother parallels Miyazaki's love for his mother.[6] The BBC defined the film as "a coming-of-age tale in which a child must overcome his selfishness and learn to live for others."[7]
Suzuki spoke of Miyazaki's desire to create the film based on personal experiences and relationships when he proposed it in 2016. He was initially taken aback, given Miyazaki's avoidance of highly personal themes. The narrative is inspired by Miyazaki's (Mahito) professional relationships with Isao Takahata (Granduncle) and Suzuki (Heron), and integrates themes of destruction, reconstruction and imagination. Following Takahata's death in 2018, revisions were made to the film, shifting the focus from the Granduncle to the relationship between Mahito and Heron. Suzuki observed that Miyazaki's storytelling choices were deeply influenced by the memories shared between the two.[8]
Taichiro Yoshino, the grandson of Genzaburō Yoshino, confessed to being somewhat bewildered by the film's messages. He also mentioned a meeting he had attended at Studio Ghibli's offices in 2017, during which Miyazaki articulated his intention to create the film and acknowledged his past works, primarily featuring cheerful and optimistic male protagonists, and contrasted them with his perception of boys as complex individuals. Miyazaki aimed to depict a protagonist who grapples with inner conflicts and insecurities, emphasizing the transformative power of overcoming personal challenges. Yoshino drew a distinction between The Boy and the Heron and Kimitachi wa Dō Ikiru ka as separate works, yet highlighted their shared central theme—how individuals navigate and come to terms with a world characterized by strife and loss.[9][3]
The film contains the message of creating "a world without conflict with your own hands."[9] According to The Japan Times, Miyazaki's faith in children's potential to surpass previous generations under challenging circumstances is exemplified in the film's Japanese title, which offers children a choice between emulating the chaos of Japan's past war or forging a better path, and thus demonstrates the "continued optimism" that serves as the "greatest testament" to the director's imagination.[6]The Hollywood Reporter noted that the film retains elements of the book that emphasize the theme of spiritual growth. The film, open to diverse interpretations, fundamentally conveys resilience in the face of conflict and grief, while advocating for the cultivation of meaningful friendships and trustworthy alliances, ultimately promoting progress and fostering "humanity and understanding to the world."[10]IndieWire's analysis argues that the film weaves together various thematic layers and tonal elements drawn from Miyazaki's past work. It draws attention to the film's departure from the conventional children's genre, instead aligning more closely with the "violent" style of Princess Mononoke rather than the "cuddly charm" of My Neighbor Totoro, with the exception of the Warawara characters. This assessment underscores the film's diverse and nuanced nature.[5]
A review on RogerEbert.com asserts that the film's narrative explores themes of "acceptance, redemption, and the power of creation", drawing explicit connections between Miyazaki's youthful inspirations and his hopes of inspiring others over four decades. The film delves into the juxtaposition of life and death, wherein childhood and the end of life can serve as reflective counterparts.[11] As highlighted by Unseen Japan, the film's themes make the viewer reflect on their role in a world marked by violence and uncertainty, their obligations to future generations and their connection to their ancestors.[12] This view is shared by some publications, commenting that Miyazaki's recurring exploration of mortality and the aftermath of profound loss is a central theme in the film, showing the importance of everyday choices and depicting a journey of self-discovery and the search for meaning amidst the uncertainties of life,[13][14] and underlining the film's open-ended approach in contrast to the book centered on the moral development of adolescent boys. The narrative imparts various moral lessons but centers on an "impassioned plea" from an aging master (Granduncle) to his progeny, emphasizing the urgency of their tasks as time passes quickly.[15]
For Nikkei Asia, the primary emotional driver in the film is the yearning for a mother's presence. This emotion fuels the narrative, occasionally diverting into adventures involving fantastical creatures. Mahito's father marries his mother's sister, evoking significant Freudian undertones. Miyazaki emphasizes the child's perspective, sometimes with quasi-sexual elements, as seen in encounters with frogs. Such moments, though evocative, are brief and dreamlike. The film stands as one of Miyazaki's less textured works, focusing on Mahito's mission to save his mother and stepmother, emblematic of Miyazaki's recurring theme of worthiness.[16]
Vulture noted that despite the serious narrative of the multi-themed film, it deliberately includes scenes of bird droppings, which provides comic relief, and which it felt were in line with Miyazaki's broader message about the messy and natural aspects of life as opposed to the oppressive order of Imperial Japan depicted in the film.[17]
Production
Following the release of The Wind Rises, Miyazaki held a press conference in Venice in September 2013 announcing his retirement from feature animation, saying: "I know I've said I would retire many times in the past. Many of you must think, 'Once again.' But this time I am quite serious."[18][19] However, Miyazaki later changed his mind after concluding work on the short film Boro the Caterpillar (2018) and decided to come out of retirement to direct another full-length film, a decision which was captured in the 2016 documentary film Never-Ending Man: Hayao Miyazaki.[20][21] He commenced storyboarding for the film in July 2016 and presented a project proposal for it the next month.[22] This proposal included a children's novel The Book of Lost Things by Irish author John Connolly, which formed "a loose framework" for the project. Edogawa Ranpo's Ghost Tower (幽霊塔, Yūrei-tō), which Miyazaki loved as a child, inspired the tower in the film.[23][24] Suzuki later approved the project, taking into account Miyazaki's commitment and storyboard work.[8] After Suzuki publicly announced the start of work on Miyazaki's new film in February 2017,[25] the studio's official website posted a call for staff for the new project on May 19, 2017, and production began in earnest.[26] With Miyazaki coming out of retirement, Studio Ghibli reopened with many of its past collaborators working on the project.[27] At an event held at Waseda University in October 2017, Studio Ghibli announced the film would be titled Kimitachi wa Dō Ikiru ka, after the 1937 novel of the same name by Genzaburo Yoshino.[28][29] The release date was not determined, but Miyazaki voiced his desire to release the film around the time of the 2020 Summer Olympics in Japan.[22] Suzuki said that Miyazaki is working on the film for his grandson as his way of saying "Grandpa is moving onto the next world soon but he is leaving behind this film".[30]
Suzuki stated in August 2018 that the film was expected to be completed in 2021 or 2022. The film was confirmed to be 15% complete at the end of October 2019. In a December 2019 interview with NHK, Suzuki explained that the film is not to be expected anytime soon; Miyazaki in his younger age used to produce 10 minutes of animation every month, but now his speed was reduced to 1 minute per month. He contended that Miyazaki was unlikely to retire completely, as idleness would trouble him. Despite talk of Miyazaki's upcoming film being his last, Suzuki doubted it, asserting that as long as Miyazaki lives, he will likely keep making films.[31] Unlike his previous films, Miyazaki did not oversee every single frame and focused solely on creating the film's blueprint through storyboarding, while the animation director Takeshi Honda took charge of the animation process.[32] In March 2020, Suzuki disclosed that since the new film required a significant amount of time and money, the studio planned to finance the production by showcasing their previously released films on streaming platforms like Netflix. Miyazaki did not use a computer or smartphone and was unaware of online streaming, so Suzuki convinced him to make this deal to cover the costs, especially considering that their current project is unlike their previous endeavors.[33]
In May 2020, Suzuki recounted to Entertainment Weekly that the film was a "big fantastical" film. He said that 60 animators were working on the film and that an estimated 36 minutes had been completed after three years of production, saying "we are still hand-drawing everything, but it takes us more time to complete a film because we're drawing more frames", and they were "hoping it will finish in the next three years".[34] In December 2020, Suzuki stated that the production was working with no deadlines, similarly to The Tale of the Princess Kaguya (2013), which took eight years to make. He said that the animation was half-finished, that production was running faster due to COVID-19 restrictions requiring them to work at home, and that the film would be 125 minutes long.[35] He also revealed that Miyazaki wanted to adapt Earwig and the Witch (2020) during development, but his son Goro, an executive-producer of Kimitachi wa Dō Ikiru ka alongside Koji Hoshino and Kiyofumi Nakajima,[10] directed the adaptation instead.[36] Cinematographer Atsushi Okui introduced the idea of utilizing Dolby Cinema to Miyazaki during the production of Earwig and the Witch, which received the director's approval. Okui was particularly drawn to the technology's ability to maintain image sharpness in bright scenes while preventing dark areas from becoming overly black.[37][38] In October 2021, the director conveyed to T that he was making the film because he didn't have an answer [to the question Kimitachi wa Dō Ikiru ka], while the producer characterized the forthcoming release as an ambitious fantasy project.[39] In October 2022, Hoshino mentioned during a press conference that the production of the film had progressed quite smoothly, even during the pandemic, and was nearing completion. Hoshino did not specify the exact release date for the film but added that it would "indeed be Miyazaki's final film".[40] In December 2022, Takuya Kimura, who voiced Howl in Howl's Moving Castle, "hinted" that he was in the film with a post on social media.[41] Suzuki considered The Boy and the Heron to be the most expensive film ever produced in Japan.[42] The production timeline spanned approximately seven years, comprising two and a half years dedicated to pre-production activities and about five years for the production phase.[43] In June 2023, Suzuki clarified that the novel is not related to the film beyond inspiring the title.[44][45]
The film score was composed by Miyazaki's longtime collaborator Joe Hisaishi.[47] The soundtrack, consisting of 37 songs, was released in Japan on August 9, 2023, by Tokuma Japan Communications.[48][49]Kenshi Yonezu was in charge of the theme song, titled "Chikyūgi" (地球儀, lit. "Globe") in Japan,[47][50] and titled "Spinning Globe" internationally.[51] Yonezu's first visit to Studio Ghibli in 2018 led to his collaboration with Miyazaki, driven by his composition of "Paprika" for the 2020 Summer Olympics. Suzuki witnessed Miyazaki singing the song with children at Ghibli's nursery school, and the director approved the composition after reviewing a demo recording. Yonezu, shown storyboards and provided with project details, engaged in a five-year creative process with Miyazaki and Suzuki, resulting in the completion of the musical composition.[52]
Release
On December 13, 2022, Toho declared that The Boy and the Heron has a scheduled theatrical release date of July 14, 2023 in Japan.[53][54][55]
The film was released in Japan without any traditional marketing campaign, with no trailers nor promotional stills of the film released before its premiere with the exception of a single poster. The decision to do so came from Suzuki, who opted to eschew traditional marketing methods due to concerns about over-revealing film content, in response to what he believed to be a fundamental preference among moviegoers for a more enigmatic cinematic experience.[56][57] The cast and crew were kept largely undisclosed until the release date.[58] After the preview screening held in late February 2023, where strict confidentiality measures were in place, a message from Miyazaki was read out following the end credits, saying "Perhaps you didn't understand it. I myself don't understand it."[9][3] On June 29, 2023, during the opening day of Friday Road Show [ja] and Ghibli Exhibition Tokyo 2023,[59] Suzuki publicly spoke on how Miyazaki is "worried" over the lack of publicity for the film, but said that he trusts the work behind it and believes it is best for the film.[60][61] It is the first Studio Ghibli and Miyazaki film to have a simultaneous release on IMAX, as well as other high-end formats like Dolby Atmos, Dolby Cinema, and DTS:X.[62][63][64]
Studio Ghibli granted promotional control to GKIDS for the American release, leading GKIDS to adapt a new marketing strategy, including the release of a teaser trailer on September 6[79] in advance of the film's international premiere at the Toronto International Film Festival, to reach a wider audience while preserving Ghibli's branding and integrity.[5] At the international premiere, where the director Guillermo del Toro introduced the film at its gala presentation,[d][80] Studio Ghibli's Vice President Junichi Nishioka said that, contrary to rumors of retirement, Ghibli did not consider The Boy and the Heron to be Miyazaki's final film, and that Miyazaki is developing ideas for a new film and maintains a daily presence at his office, dispelling any notions of retirement. He said that Studio Ghibli did not envisage this film as a contender in award competitions and rejects the notion of associating films with wins or losses, and that Miyazaki's primary aim is for the audience to watch and enjoy the film.[5][81] Suzuki reiterated Nishioka's statement about Miyazaki's next project in October 2023, saying that Miyazaki has already moved on from The Boy and the Heron and is thinking about his new film every day.[82] Later in the same month, the official guidebook for the film was released, showing behind-the-scenes featurettes such as interviews, roundtable discussions and storyboards.[83]
Reception
Box office
In Japan, The Boy and the Heron grossed $13.2 million (1.83 billion yen) in its opening weekend, becoming the biggest opening in Studio Ghibli's history and surpassing Howl's Moving Castle's 1.48 billion yen debut in 2004. The film earned $1.7 million from 44 IMAX screens, setting a new 3-day record.[84] It attracted 1.35 million viewers and exceeded 2.14 billion yen ($15.2 million) in box office revenue in its first four days.[85] On July 24, it was reported that 2.32 million people watched the film and box office revenue exceeded 3.6 billion yen ($25.5 million).[86][87] A week later, the number of viewers was reported as 3.05 million and the box office revenue exceeded 4.693 billion yen ($33.24 million).[88][87] On August 7, it was reported that 3.61 million people watched the film, and it made more than 5.48 billion yen ($38.65 million) at the box office.[89][87] The film had 4.125 million viewers and grossed over 6.235 billion yen ($43.014 million) in its first month of release.[90][87] By August 21, it had 4.645 million viewers and grossed over 6.983 billion yen ($48.028 million).[91][87] In its seventh weekend, the film garnered an audience of 143,800, generating a box office revenue of 217 million yen. Overall, it engaged a total of 4.946 million moviegoers and achieved a cumulative box office income of 7.414 billion yen ($50.629 million).[92][87] On September 4, the film was reported to have sold more than 5.17 million tickets and grossed over 7.7 billion yen ($52.9 million).[93][87][94] On September 11, the film became the 20th highest-grossing anime in Japan,[95] grossing 7.96 billion yen ($53.8 million) within 59 days of its release.[96][97][87] By September 18, more than 5.46 million tickets had been sold and the film's gross had exceeded 8.16 billion yen ($55 million).[98][99][87] These figures passed 5.53 million tickets and 8.25 billion yen ($55.6 million) a week later.[100][101][87] In its twelfth weekend, the film's gross exceeded 8.33 billion yen ($55.8 million).[102][87] With a gross of ¥8.4 billion (US$56.2 million),[103][87] the film dropped out of the top 10 grossing films for the first time in its thirteenth weekend.[104] The gross amount increased by about one to three hundred thousand yen each week, from ¥8.44 billion on October 15 to ¥8.64 billion on December 17.[105][a]
Film journalist Hiroo Ōtaka noted the industry's astonishment at the rapid box office success for the film's unconventional "minimalist promotion" strategy. The achievement has evoked mixed feelings among industry insiders, with distribution representatives expressing concerns to Ōtaka, fearing the challenge of this no-promotion strategy on their livelihoods and the necessity of traditional advertising methods. In addition to this marketing strategy, Ōtaka identified two important aspects of the film's commercial success. The first is that the deliberate approach of leaving the film by itself capitalized on its existing fan base by generating discussion and interaction on social media. He also mentioned Ghibli's earlier works, regularly featured on Friday Road Show for a decade, indirectly promoted the film.[106]
As of December 22, 2023[update], the film had grossed an additional $61 million worldwide, bringing its total gross to $118.2 million.[a][1] It became the first original anime film and Miyazaki's first film to reach number one at the box office in Canada and the United States, opening with $5.2 million and grossing $12.8 million over its first weekend.[107]
Critical response
On review aggregatorRotten Tomatoes, 97% of 208 critics gave the film a positive review, with an average rating of 8.5/10. The site's critics consensus reads: "Soulfully exploring thought-provoking themes through a beautifully animated lens, The Boy and the Heron is another Miyazaki masterpiece."[108] On Metacritic, the film has a weighted average score of 92 out of 100 based on 51 critic reviews, indicating "universal acclaim".[109] Audiences polled by CinemaScore gave the English-dubbed version of the film an average grade of "A−" on an A+ to F scale.[110]
Although initial reactions to the film were described as "mixed",[e] with reviewers finding it abundantly detailed and laden with meaning,[f] the film quickly garnered critical acclaim in Japan.[g] Film site Eiga Channel praised the film as one of Ghibli's finest in terms of visuals and storytelling, but pointed out that non-Ghibli enthusiasts might find the rapid scene transitions confusing.[123] Film and culture magazine Cinemas+ observed that the film draws on motifs and characters from throughout Miyazaki's career, embedding them in a narrative that is somewhat darker, more complex, and more personal than many of his works.[124] Similarly, Time Out Japan hailed the film as "a mature, complex masterpiece, weaving together the director's past, present, and future – a beautiful enigma that promises to be worth the wait."[113] Cezary Jan Strusiewicz from Polygon found the fantasy elements to be "absolutely beautiful, and they naturally include shots of the classic impossibly delicious-looking Ghibli food", and wrote that people "can watch this movie over and over, always finding something new and exciting in it". He stated that there is a nostalgic longing for the past that evokes the impression of a director reflecting on their career before stepping away, and this underlines "the makings of a perfect swan song".[125] In his review for The Japan Times, Matt Schley awarded the film a rating of 4.5 out of 5 stars, expressing that while its position within his list of favorite Miyazaki works remains uncertain, there were moments that left him breathless.[6] While acknowledging the film's complexity and potential to not resonate with all viewers, Full Frontal author Matteo Watzky regarded these qualities as its best aspects, showcasing Miyazaki's talent, subtlety, and imagination.[114]
First international reviews were "unanimously positive".[126]Caryn James of the BBC, who rated it 5 out of 5 stars, felt the film is the culmination of Miyazaki's career and therefore may require multiple viewings to fully absorb the narrative's unwavering pace and the rich tapestry of imagery. She opined that the film presents a narrative blending wartime tragedy and supernatural exploration through the character Mahito, characterized by Miyazaki's meticulous attention to detail, a vibrant palette, and the seamless interplay between reality and the otherworldly, with characters assuming dreamlike forms that exemplify Miyazaki's innovative storytelling and visual prowess.[127] Tomris Laffly, writing for TheWrap, epitomized the film as a "swan song so personal, artful and ultimately timeless" and thought it was "the deepest and darkest Studio Ghibli film" since Grave of the Fireflies.[128] David Ehrlich of IndieWire, who gave the film an "A" rating, wrote that the film "finds Miyazaki so nakedly bidding adieu — to us, and to the crumbling kingdom of dreams and madness that he'll soon leave behind — that it somehow resolves into an even more fitting goodbye [than The Wind Rises], one graced with the divine awe and heart-stopping wistfulness of watching a true immortal make peace with their own death."[129]IGN's Rafael Motamayor reviewed The Boy and the Heron as Ghibli's "most visually complex film" and awarded it a score of 9 out of 10, where he expressed how Miyazaki has delivered an exceptional conclusion to his distinguished career through a "stunning animated adventure" that reminds audiences of their fortune to witness Studio Ghibli's cinematic creations.[130] On a less positive side, The Guardian writer Radheyan Simonpillai, assigning the film 3 out of 5 stars, saw it as "a gentler and slower though no less soulful addition to his canon."[131]
After the film's release, the novel How Do You Live? became temporarily in short supply due to the "synergy" with the film. The publisher decided to reprint the book, while the volumes were in large quantities on Mercari marketplace app. On July 20, Iwanami Shoten announced on its official Twitter account that the total circulation of the book had reached 1.8 million copies, making it the number one Iwanami Bunko book in history.[152]
^GKIDS advertised the film as a "semi-autobiographical fantasy about life, death, and creation, in tribute to friendship, from the mind of Hayao Miyazaki."[4]
^Miyazaki refrained from attending the world premiere and participating in promotional activities for the film in Japan, reportedly due to his age and "in an effort to raise the [film's] mystique". Cameron Bailey asked del Toro to present the film.[80][5]
^Deadline Hollywood reported that initial Japanese reactions to the film were "mixed but mostly favourable",[111] while Digital Spy reported that they were "decidedly mixed".[112]
^"宮崎駿監督が新作長編の準備に 事実上の「引退」撤回" [Director Hayao Miyazaki prepares for new feature film, effectively withdrawing his "retirement"]. 産経ニュース (Sankei News) (in Japanese). Sankei Shimbun. February 24, 2017. Archived from the original on February 25, 2017. Retrieved October 11, 2023.
^日本放送協会 (July 6, 2023). "ジブリ 謎の新作映画「君たちはどう生きるか」鈴木敏夫Pに単独インタ" [Interview with Toshio Suzuki, Prod. of Ghibli's mysterious new film "How Do You Live?"]. NHKニュース. Archived from the original on July 18, 2023. Retrieved September 11, 2023.
^【冒頭30分】鈴木敏夫×新谷学「鈴木敏夫はどう生きるか」 [[Opening 30 minutes] Toshio Suzuki x Manabu Shintani "How does Toshio Suzuki live?"] (in Japanese). 文藝春秋 電子版. June 2, 2023. Archived from the original on June 4, 2023. Retrieved June 21, 2023.
^ ab「君たちはどう生きるか」ストーリー、声優、主題歌が明らかに [Story, voice actors, and theme song revealed for "How Do You Live?"]. Natalie (in Japanese). Natasha, Inc. July 14, 2023. Archived from the original on July 14, 2023. Retrieved July 14, 2023.
^宮崎駿監督「君たちはどう生きるか」久石譲が音楽担当 主題歌の存在も明らかに [Hayao Miyazaki's "How Do You Live?" with music by Joe Hisaishi, theme song also revealed]. Eiga.com. July 4, 2023. Archived from the original on July 14, 2023. Retrieved July 14, 2023.
^君たちはどう生きるか [How Do You Live?] (in Japanese). Toho. Archived from the original on January 28, 2023. Retrieved January 28, 2023. 原作・脚本・監督 宮﨑 駿 [Original story, script, director: Hayao Miyazaki]
^東宝2023年以降のラインナップ発表、宮崎駿の新作は「超大作であることは間違いない」 [Toho announces lineup for 2023, Hayao Miyazaki's new work is 'no doubt a blockbuster']. Natalie (in Japanese). Natasha, Inc. December 13, 2022. Archived from the original on December 13, 2022. Retrieved December 13, 2022.
^宮崎駿監督、最新作"宣伝ナシ"を心配「大丈夫かなぁ」 鈴木敏夫Pが明かす [Hayao Miyazaki worried about the lack of publicity for his latest work: "I wonder if it will be OK," reveals Toshio Suzuki]. Oricon. June 28, 2023. Archived from the original on July 2, 2023. Retrieved July 2, 2023.
^"「君たちはどう生きるか」興収２１・４億円突破 初動４日間は「千と千尋」超え" [The box office revenue for 'How Do You Live?' surpasses 2.14 billion yen, exceeding the first four days of 'Spirited Away']. Daily Sports (in Japanese). July 31, 2023. Archived from the original on July 30, 2023. Retrieved July 30, 2023.
^"ジブリ新作『君たちはどう生きるか』興収36億円突破 週末動員ランキングは2位に 前週比＋約15億円" [Ghibli's new film "How Do You Live?" grossed over 3.6 billion yen and ranked 2nd in the weekend attendance ranking, up approximately 1.5 billion yen from the previous week]. ORICON NEWS (in Japanese). July 24, 2023. Archived from the original on July 28, 2023. Retrieved July 30, 2023.
^"ジブリ新作『君たちはどう生きるか』興収46億円突破、前週比＋10億円" [Ghibli's new film "How Do You Live" grossed over 4.6 billion yen, up 1 billion yen from the previous week]. ORICON NEWS (in Japanese). Archived from the original on July 31, 2023. Retrieved July 31, 2023.
^"ジブリ新作『君たちはどう生きるか』興収54億円突破 前週比＋8億円" [Ghibli's new film "How Do You Live?" grossed over 5.4 billion yen, up 800 million yen from the previous week]. ORICON NEWS. August 7, 2023. Archived from the original on August 8, 2023. Retrieved August 7, 2023.
^"ジブリ新作『君たちはどう生きるか』公開1ヶ月で興収62億円突破 前週比＋8億円" [Ghibli's new film "How Do You Live?" grossed over 6.2 billion yen in its first month of release, up 800 million yen from the previous week]. ORICON NEWS. Archived from the original on August 16, 2023. Retrieved August 14, 2023.
^"ジブリ新作『君たちはどう生きるか』興収69億円突破 前週比＋7億円" [Ghibli's new film "How Do You Live?" grossed over 6.9 billion yen, up 700 million yen from the previous week]. ORICON NEWS. August 21, 2023. Archived from the original on August 21, 2023. Retrieved August 21, 2023.
^"映画ランキング：『ホーンテッドマンション』初登場1位 『こんにちは、母さん』『夜きみ』もランクイン" [Movie ranking: "The Haunted Mansion" debuts at No.1, "Hello, Mother" and "Night Kimi" also ranked]. ORICON NEWS. Archived from the original on September 4, 2023. Retrieved September 5, 2023.
^"映画ランキング：『劇場版シティーハンター』1位、『禁じられた遊び』5位初登場" [Movie Rankings: 'City Hunter: The Movie' at First Place, 'Forbidden Play' Debuts at Fifth Place]. ORICON NEWS. Archived from the original on September 15, 2023. Retrieved September 11, 2023.
^"歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on October 11, 2023. Retrieved October 11, 2023.
¥8.44 billion on October 15: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on October 16, 2023. Retrieved October 16, 2023.
¥8.47 billion on October 22: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on October 23, 2023. Retrieved October 23, 2023.
¥8.5 billion on October 29: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on October 30, 2023. Retrieved October 30, 2023.
¥8.52 billion on November 5: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on November 8, 2023. Retrieved November 8, 2023.
¥8.54 billion on November 12: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on November 15, 2023. Retrieved November 15, 2023.
¥8.56 billion on November 19: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on November 21, 2023. Retrieved November 21, 2023.
¥8.58 billion on November 26: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on November 29, 2023. Retrieved November 29, 2023.
¥8.6 billion on December 3: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on December 4, 2023. Retrieved December 4, 2023.
¥8.61 billion on December 10: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on December 11, 2023. Retrieved December 11, 2023.
¥8.64 billion on December 17: "歴代ランキング" [Successive Rankings]. CINEMAランキング通信 (CINEMA Ranking Tsūshin) (in Japanese). 興行通信社 (Kogyo Tsūshinsha). Archived from the original on December 18, 2023. Retrieved December 18, 2023.
^大高宏雄; 杉本健太郎 (July 21, 2023). "『君たちはどう生きるか』ヒットに映画関係者も驚く3つの"異変"" [Three "anomalies" in the success of How Do You Live?]. BUSINESS INSIDER JAPAN (in Japanese). Archived from the original on July 28, 2023. Retrieved September 11, 2023.
^Motamayor, Rafael (September 8, 2023). "The Boy and the Heron Review". IGN. Archived from the original on September 10, 2023. Retrieved September 10, 2023.
^英介, 浅野 (July 27, 2023). "「君たちはどう生きるか」映画効果で同名小説が再注目 フリマアプリにも大量出品" [The "How Do You Live?" film has brought renewed attention to the novel of the same title, which is now being sold in large quantities on flea market apps]. 産経ニュース (in Japanese). Archived from the original on August 1, 2023. Retrieved August 31, 2023.
