She boasts that she can make people do whatever she wants, however despite her attempts to thwart adoption, she is taken home by a strange couple called Bella Yaga and The Mandrake.īella Yaga needs Earwig to be her assistant. She grows into a confident, precocious, and mischievous little girl who has the adults and other children wrapped around her finger. Earwig is left by her mother at an orphanage as a baby, where she is renamed Erica Wig. We are introduced to a fascinating world. It’s biggest problem however, aside from the issues with the visuals not being quite up to scratch, is a severe lack of story development. The animation itself has clear inspiration from Pixar, but little of the hyper realism and attention to facial expressions and performance that make Pixar films visually peerless. There is modern music, the usual piano score is replaced by variations on rock and roll and jazz. Studio Ghibliīut then there are aspects that suggest they are beginning to experiment, with varying results. Some of these characters are morally ambiguous and conflicted in a way that is pure Ghibli, suggesting potential for some much better storytelling. Food, magic, and strange characters combine in a way that western studios would never think to do. Handfuls of worms are thrown directly at the screen and spread outwards blocking our view. There are elements that place it firmly into their usual style. It’s also Ghibli’s second adaptation of a story by Welsh author, Diana Wynne Jones, after Howl’s Moving Castle.Įarwig and the Witch is Studio Ghibli’s first foray into digital animation, and it’s a mixed bag. Gorô Miyazaki directs his third film for Studio Ghibli, following Tales from Earthsea and From Up On Poppy Hill. Occasionally you see a film, and at the end you’re not entirely sure how to feel about it.
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