Studio Ghibli Fest | My Neighbor Totoro

Two young girls, Satsuki and Mei, move with their father to a new house in the countryside. But country life is not so simple as it seems, as they soon discover the house and nearby woods are full of strange and delightful creatures, most notably a family of Totoros, gigantic but gentle bear-like forest spirits that can only be seen by children. The Totoros introduce the girls to a series of new adventures, including a ride aboard the Cat Bus.

Studio Ghibli Fest 2017 has begun! I watched the English dubbed screening of My Neighbor Totoro this past weekend, delighted to be in the audience of a packed theater. Totoro is undoubtedly the most widely recognized Studio Ghibli character, a character that has definitely become an icon within my own life. My Neighbor Totoro tells the story of Satsuki and Mei, two young girls who move to the countryside with their father while their mother is sick in the hospital. Dealing with their mother’s absence, the girls take to exploring their new home and its surrounding forest, where they encounter fantastical creatures from soot sprites and totoros, to the catbus. These creatures are considered to be spirits that can only be seen by children, if they’re lucky. I remember watching this film when I was younger, certainly fascinated with the creatures that I hoped I would be lucky enough to catch sight of someday. Now, as a full fledged adult (debateable), the themes of family and loss have become all the more prevalent.

The unconditional love between Satsuki, Mei, and their father is touching. They take pleasure in cleaning house and making a home for themselves, simply happy to be in each other’s company. The girls even go so far as to stand out in the pouring rain at the bus stop, waiting for their father to come home from work just to make sure he didn’t have to walk home in the rain without an umbrella. And after the girls visit their mother in the hospital, it’s clear that while they put on a brave face, there is an ache in their hearts. The girls write to their mother frequently, preparing for the day when she may finally come home, until they discover that her return is to be postponed due to more complications. What must it be like for a child to be uncertain of their parent’s fate? Mei, who is only 4 years old with a limited understanding of human mortality, petulantly cries that “it’s not fair!”, to which Satsuki, who is several years older than Mei and more understandably angry and upset, yells at her for being a child. The girls fight and Satsuki runs off in an upset while Mei proceeds to wail uncontrollably. Later, Satsuki is seen laying on the floor in the dark, a vision of depression. It isn’t until she realizes that Mei is missing that she comes back to life and takes off in a desperate chase to find her lost sister, turning to Totoro for help.

After all of their fear, pain, and suffering, in the end they all find each other again and return home with a new hope. What would the girls have done without their friendly neighborhood Totoro? He was their guide, a spirit of the forest watching over their precious family. They were blessed. My Neighbor Totoro is considered to be a masterpiece, a family film for adults and children alike, centered on the love of a family, with a delicate balance between love and pain. I highly recommend each and every Studio Ghibli film, which are all beautifully animated with rich and compelling storylines. Continuing through Studio Ghibli Fest I will be watching the English dubbed screenings and I'm most excited for Kiki's Delivery Service and Spirited Away which are high up on my list of favorites. Till next time, see you at the movies! ★

Guardians of the Galaxy Vol. 2 (review)

Star-Lord and the Guardians are back for another epic space adventure! When I first heard about these superheroes in space they sounded strange and unfamiliar, but I was still completely on board. I’m a total Marvel superhero fangirl and I’m completely fascinated with space and time and Guardians of the Galaxy was the superhero film I didn’t know I was waiting for. I fell in love with Guardians for its galactic setting, its rag tag band of misfits/heroes, and its awesome soundtrack. As much as Guardians was just another superhero origin story among many, it was a breath of fresh air. Guardians of the Galaxy Vol. 2 is just as entertaining and action-packed as the first film, but it's also different enough in story and theme that it serves as a successful sequel that expands on everything that was introduced in the first film.

If you're familiar with Guardians, then you know that the soundtrack is essential, not only to Peter Quill, but to the overall tone of the films. Vol. 2 starts on a high note as the intro scene showcases a criminally adorable Baby Groot dancing to my legit all time favorite song, "Mr. Blue Sky" by Electric Light Orchestra. Without missing a beat, the film jumps right back into the action as the Guardians work together to take down a monster, a scene that serves to remind the audience of the character dynamics that were established in the first film. Although they may fight and bicker at times, they still get the job done. At the end of the day they’re still a team. They’re family. And unsurprisingly enough, Vol. 2 is very much a family affair. Peter Quill’s origin was left to question at the end of the first film and those questions are quickly answered as Peter finally meets his long absent and mysterious father.

While Peter’s origin is at the center of the film, each of the Guardians have a defining arc outside of the main plot. The audience learns the history behind the rivalry between Gamora and Nebula, sisters fighting with very different motives. Rocket and Yondu share a moment about the pains of not having a family, and despite Drax’s limited emotional range, we are exposed to the unbearable pain of how much he truly misses his wife and child. Writer/Director James Gunn did a great job of building these characters and organically giving them depth throughout the film. The film explores themes of what it's like to lose your family, of feeling alone and estranged, to what it's like to create a new family, and to learning to appreciate the family in front of you. I found Vol. 2 to be equally as enjoyable as the first, despite having some pacing issues and some of the humor falling flat. However, I do think that the first Guardians of the Galaxy is a better film overall, but the themes in Vol. 2 create a stronger emotional and personal connection for me. I'm torn between which film I like better and how I would rank them because both films are great by their own right. But either way, the galaxy definitely needs more dancing Baby Groot!

RATING: 8/10
★★★★★★★★

The Love Witch

The Love Witch is a film about a modern day witch who uses love magic to seduce men in an attempt to find that seemingly unattainable ideal of true love. The film was shot in style and tribute to 1960’s Technicolor thrillers and has a signature visual style with costumes and set designs that were personally crafted and curated by the filmmaker herself. I was immediately compelled by the film, not only because of my appreciation for independent filmmaking, but due to my innate fascination with witchcraft and magic and mysticism. Not to mention the fact that the film was directed by a woman, Anna Biller, an independent filmmaker, and a woman after my own heart. The Love Witch appealed to me in every witch way.

The film was shot on 35mm and was made using traditional film practices, utilizing color and lighting and practical in-camera effects. Anna Biller not only wrote, produced, and directed the film, she also handcrafted much of its costumes, set designs, and paintings, as well as composed some of its score. To personally dedicate that much time and effort into the production speaks volumes to her passion and vision for the film. And it certainly pays off, as her visual aesthetic bleeds through every frame. That is the type of filmmaking I truly appreciate and aspire to imitate in everything I create. Everything in the frame is deliberate, everything you see, hear, and feel as a viewer is completely constructed by the filmmaker. Biller handcrafted this film from beginning to end and created a highly stylized and aesthetically pleasing cinematic experience that explores themes of love, the witch archetype, and female fantasy.

In The Love Witch, Elaine is a beautiful young witch with long and dark hair, red lips, and a seductive gaze. Her gothic Victorian apartment is decorated with occult paintings, with an interior design inspired by the Thoth tarot deck. She dresses in vibrant colors, styled with ornate jewels, and layers of brightly colored makeup. She is man’s ultimate fantasy. She is also a pathological narcissist who turned to witchcraft after she had her heart broken and couldn’t cope with the pain of the constant emotional abuse from the men in her life. She is so desperate to find a man to truly love and accept her that she uses sex and love magic to seduce them. But as everyone knows, love spells never work out the way you think they will, and that love drives these men crazy and literally kills them. Elaine loves men... to death.

Witchcraft essentially involves concentrating energy and using your will to get what you want. In my personal studies on witchcraft I’ve learned that love spells and magic should always be cast on yourself, rather than attempting to manipulate the will of others, you want to vibrate at the frequency of love in order to attract more of the love you want into your life. However, Elaine is so misguided in her belief that a woman should give a man his fantasy in order to gain their love, that her self worth is completely wrapped up in pleasing a man. According to Biller, “She plays that record that women play over and over again in their heads when they are rejected: “Why doesn’t he love me anymore? What’s wrong with me? How can I get him back?” It is a truth universally acknowledged that love makes people crazy, and Elaine so desperately tries to live up to man’s feminine ideal that it drives her to the brink of insanity. In her director’s statement Biller says, “My hope is that other women will identify with Elaine as I do: as a woman seeking love, who is driven mad by never really being loved for who she is, but only for the male fantasies she has been brainwashed to fulfill.” I recommend this film to anyone who has ever dealt with such heartache or who has ever been driven mad by love. I hope this film challenges any unrealistic ideals you may have that leave you feeling worthless or unloveable, and I hope this film empowers you.