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Aimyon, Jun Fubuki, Jun Kunimura, Kaoru Kobayashi, Karen Takizawa, Keiko Takeshita, Ko Shibasaki, Masaki Suda, Sawako Agawa, Shinobu Otake, Shōhei Hino, Soma Santoki, Takuya Kimura, Yoshino Kimura
The Boy and the Heron isn’t Hayao Miyazaki’s best film, nor is it his most accessible, seeing as the director himself has admitted to getting lost in the world he’s built here. But it is his most personal film to date (apparently he’s out of retirement!) and consequently, it’s one of the most complex Ghibli films to exist. It eschews structure for pure, raw emotion so instead of dialogue and plots, you get wonderfully abstract fantasy worlds and protagonists with near-imperceptible depths. You don’t have to get the story to understand the heaviness, grief, joy, and hope that Mahito, and in turn Miyazaki, feel. You only have to see the delicate turns in the characters’ expressions and their wildly imaginative adventures.