Fireflies’ Grave Restraint: Ghibli’s Most Angry

For the longest time, Studio Ghibli has no objection to using its catalog for streaming. But when Miyazaki needs funds to complete his third “last” movie Boy and heron, The studio gave in, and Ghibli’s films have been circulating around the world since 2020. Apart from Japan, Miyazaki prefers Ghibli’s releases, mainly to experience them in cinemas. This will change on July 15, 2025 fire Come to Netflix, Japan.

Isao takahata’s 1988 war anime was selected as a streamer that quickly broke Ghibli’s streaming, but the biggest one is that Ghibli doesn’t actually have the right to actually have it. They live with Shinchosha, the publisher of the original story on which the film is based. But, it’s all the best, because fire The perfect movie to test Japanese streaming waters. After all, if people would flock to The most annoying Enter the entire studio Ghibli series and then all the other whimsical things should be enjoyed!

Image courtesy of Netflix Media Center | ©Akiyuki Nosaka / Shinchosha Publishing Co., 1988

A sad movie that should make you angry

fire There were about two children who died of hunger. This is not a spoiler, as the film is almost 40 years old, and the film also establishes the death of 14-year-old Seita and his 4-year-old sister Setsuko. The movie is probably one of the most incredible anime of all time, but if its goal is to make the audience cry, it will attract more of our emotions. This would lead us to think that Seita and Setsuko could survive Japan in 1945 after their mother died in an air strike and then pull the carpet out from under us.

Instead, we know what will happen from the beginning. So while the death of the two children is tragic and still unbelievably watched, closer observations show that the film isn’t about tear-filled. Instead, it seems to want our anger. But not the anger against the war, because it was not the war that killed Seita and Setsuko. It is a harsh, oppressive and ruthless society that has absolutely no stopping its children from making a bunch of stupid fatal mistakes.

This movie has villains: Most adult characters

The vast majority of adults Seita and Setsuko encountered after their mother’s death are horrible people. Although they may not be traditional “bad guys”, they do serve as an opponent and ultimately a responsibility to two children who die of hunger. However, it’s not what they do, it’s something they don’t do.

Seita and Setsuko’s aunt brought them in but still called them, even after bringing most of the food they brought and selling rice to mother’s kimono, it was undeniable. But when Seita decides to move into an abandoned bomb shelter, her biggest sin doesn’t stop both. Yes, it was late in World War II, and rations were decreasing – but what is the meaning of society when adults don’t take care of their children? Throughout the movie, we see many adults knowing that two children are living inadequate conditions and no one raises their fingers to stop them.

A farmer urged Seita to apologize to his aunt and get help from neighborhood organizations (i.e. relying on society), but it is unclear why he insisted on talking to Seita as if he was an adult and had a say in the matter. Even the “friendly” policeman who did not book Seita after being found stealing the crops, dropped the ball because he just let him go, doing nothing to protect the boy from his still developing, proud, stupid brain.

The child is not a young adult

Seita cannot be held responsible for moving, don’t seek medical care for Setsuko as soon as possible, or wait too long to buy nutritious food for them. Because he is a child. As Setsuko’s Guardian, he did an admirable job for the film to protect her from air strikes and keep her spirits excited. But that’s where his “adult” duties should end. He should not be expected to know how to take care of himself, let alone a 4-year-old, because we don’t want the kids to make their own dinner every day: they either burn the house or throw their teeth from their mouths from something they eat nothing but chocolate.

Seita and Setsuko should be dragged back to their aunt by force when necessary, and they should be yelled until she is humiliated like a human. Then someone should give Seita a serious conversation, thinking that he has the right to take risks not only, but also to take risks. Then, yell at everyone who doesn’t want to be involved in this, because that’s not their place.

Finally, Japanese society around 1945 would dress up for their shocking indifference, but that might be the focus of the film. Watch it yourself and see what you think when it premieres on Netflix on July 15.

Editor’s note: For those who are eager to dig deep into Gaoshou’s work Exhibition to celebrate the late director Ghibli Currently running in the Azabuda Mountain Gallery. Check it out before September 15.

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