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‘The Boy and the Heron’ is a fitting swan song for Hayao Miyazaki

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Two characters from an animated film, a boy and a girl, embrace next to the shimmering water of a pond with trees and a sunset sky in the background.
Studio Ghibli

Every week, Kristopher Pollard from Milwaukee Film and Radio Milwaukee’s Dori Zori talk about movies — because that’s what you do when you’re Cinebuds.

Director Hayao Miyazaki’s films tend to conjure complex questions. Is it possible to achieve genuine happiness without truly embracing who you are? Does love have boundaries? Can you realize your full self while remaining in your comfort zone?

On this installment of Cinebuds, Dori and Kpolly add their own conundrum to the list: Can you construct a complete episode of a movie-based podcast when one of the hosts didn’t see the movie being discussed? Unlike Miyazaki’s snarly queries, we can untangle ours pretty definitively:

Yes, you can.

One of the ways our film-loving duo skirts the issue is by tackling Miyazaki’s career as a whole — appropriate considering his latest movie, The Boy and the Heron, is supposedly the legendary filmmaker’s final project. Granted, we’ve heard that claim before from the man who built Studio Ghibli, but it’s hard to argue that there’s ever a bad time to appreciate his outstanding portfolio.

After a brief intro extolling the virtues of Miyazaki’s work, the balance of our episode turns into an interview of sorts as the bearded half of our buds fields questions about The Boy and the Heron and — in a real snake-eating-its-tail situation — the questions it raises. Tap that “Listen” button above to see what Kpolly thought of Miyazaki’s latest fantastical film, and make sure to subscribe to Cinebuds wherever you find the podcast.