The Boy and the Heron

Name: The Boy and the Heron - Christian Parent's Review
Item: The Boy and the Heron
Rating: 1
Author: StoryScanner

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General Review

Parent's Guide to The Boy and the Heron

The Boy and the Heron (2023) is an acclaimed animated fantasy film from Studio Ghibli, directed by Hayao Miyazaki. The narrative follows Mahito, a young boy grieving the loss of his mother during World War II, who discovers a mysterious tower and enters a fantastical world inhabited by various magical creatures. This semi-autobiographical work explores profound themes of grief, loss, purpose, and coming to terms with a complex reality, often through dreamlike and symbolic imagery. While visually stunning, the film is not primarily aimed at young children due to its complex narrative, slow pacing, and emotionally intense content. It is generally recommended for audiences aged 10-13 and older, offering a deeply introspective experience for viewers willing to engage with its layered storytelling.

Things to Consider

High3

Violence

The film contains moderate to high levels of animated violence, including graphic bloody images and intense scenes. This includes self-harm, a hospital fire, brutal animal butchering, and pervasive threats from man-eating creatures.

Mahito's mother dies in a hospital fire, shown with intense visuals of the blaze as Mahito runs towards it. Mahito intentionally injures himself by hitting his head with a rock, causing significant blood to gush down his face and leaving a visible scar. A large fish is graphically caught and butchered, with copious amounts of blood and guts shown. Pelicans are depicted ambushing and devouring 'warawara,' which are spirits of unborn humans. Man-sized parakeets are shown sharpening butcher knives and chasing Mahito with intent to kill and eat humans.

Witchcraft & Occult

Witchcraft and occult themes are central to the film's fantastical setting, involving a magical otherworld, supernatural beings, and powers that derive from non-Christian sources.

The core of the plot involves Mahito entering a magical 'otherworld' through an abandoned tower, where he encounters a 'troll-like man' residing within the heron, indicative of magical transformation. This world is powered by a 'magical stone' and created by Mahito's Granduncle, described as a 'reputed sorcerer' and 'worldmaker' who uses magical means to maintain balance. Mahito meets a younger version of his mother, Himi, who possesses fire-wielding powers to protect him from threats like the pelicans. The otherworld is populated by diaphanous spirits of the dead, referred to as 'warawara,' which are described as both life and death, floating upwards to become newborn infants in the real world.

Scary & Intense Content

The film contains frequent scary and intense sequences, including graphic depictions of death and injury, disturbing fantastical creatures, and emotionally heavy themes of grief and loss that can be unsettling for younger audiences.

The opening scene depicts a terrifying hospital fire, Mahito's mother's presumed death, and Mahito's frantic dash through the burning city. Mahito experiences recurring nightmares of his mother engulfed in flames and calling for help, and a scene where a vision of his mother melts into a 'black inky pool' is particularly disturbing. The heron's appearance can be creepy and sinister, sometimes revealing a 'troll-like man' with 'creepy teeth and a gaping, evil smile' from inside its beak. Man-eating parakeets with large butcher knives pose a constant, frightening threat within the otherworld.

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Medium3

ProfanitySubstance UseDisrespect & Rebellion

Low3

LGBTQ & Gender IdentityRomance and Sexual ContentAnti-Christian Themes

Medium3

Profanity

The film includes a moderate amount of mild to strong profanity and insults, including uses of 'damn,' 'dammit,' and 'turd,' which are repeated.

Substance Use

Smoking is depicted periodically throughout the film by adult characters, reflecting the historical setting. A child character also engages in stealing cigarettes.

Adult characters are seen smoking cigarettes on multiple occasions, typical of the World War II era setting. An old man is shown smoking a pipe, which he initially states contains 'knotweed' due to wartime tobacco shortages, but later smokes a cigarette. Mahito, the young protagonist, is shown stealing cigarettes to use as a bribe for an old man, and another maid attempts to bargain for the stolen cigarettes.

Disrespect & Rebellion

Instances of disrespect and rebellious behavior are present, primarily from the protagonist, Mahito, as he struggles with grief and his new family situation.

Mahito displays resentment and an unwelcoming attitude towards his new stepmother, Natsuko, and shows annoyance towards the elderly maids in the household. In an act of rebellion and self-harm, Mahito deliberately hits his own head with a rock to avoid returning to school after being bullied. He also lies to adults and steals cigarettes to use as a bribe. In an intense scene, Mahito's stepmother, Natsuko, screams 'I hate you!' at him.

Low3

LGBTQ & Gender Identity

Comprehensive searches for LGBTQ+ content, characters, or themes within 'The Boy and the Heron (2023)' and director Hayao Miyazaki's related statements yielded no explicit mentions. The film does not appear to feature any LGBTQ+ representation or discussions of gender identity.

Romance and Sexual Content

Romantic and sexual content is minimal and non-explicit. There are brief depictions of affection between adults and mentions of pregnancy, but no nudity or suggestive scenes.

Anti-Christian Themes

The film does not present explicit anti-Christian themes. Its spiritual and mythological elements are rooted in Japanese folklore and a fantastical worldview, which is distinct from a Christian perspective but does not actively mock or disparage Christian beliefs.

The film’s spiritual framework involves a magical 'otherworld' with concepts of spirits (warawara) and a 'worldmaker' Granduncle. While this diverges from a biblical worldview, Christian reviews note that it does not contain direct attacks on Christian symbols or figures. Director Hayao Miyazaki, though reportedly shunning organized religion, is recognized for often incorporating 'classical Christian values' such as beauty, hope, and love into his works.

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The Boy and the Heron presents a profound meditation on life, death, and purpose, offering themes that resonate with elements of a Christian worldview despite its non-Christian mythological framework. The protagonist, Mahito, grapples with deep grief, loss, and an internal 'malice' following his mother's death. This struggle with human brokenness and the inherent flaws of individuals and the world itself, as seen in the Granduncle's inability to create a perfect world, aligns with the biblical doctrine of original sin and the fallen nature of humanity. The film's ultimate message encourages confronting and accepting life's imperfections, finding resilience, and choosing to live courageously within a flawed reality, echoing Christian calls to perseverance and finding meaning even in suffering. Character morality in the film is nuanced. Mahito displays flaws, including self-harm, lying, and resentment, but his journey is one of growth and a burgeoning acceptance of responsibility. While he is not explicitly rewarded for virtue or punished for vice in a directly moralistic sense, his experiences within the fantastical world force him to confront his inner state and make choices that lead to his personal development. The worldview presented is largely naturalistic and mythological, drawing heavily from Japanese folklore, with a transcendent realm that operates on its own magical logic. This differs from a biblical cosmology, but it avoids direct anti-Christian sentiment, instead exploring universal human experiences of love, loss, and the search for meaning. Redemption in the film is portrayed through Mahito's personal transformation—his acceptance of his stepmother, his grief, and his choice to live in the real world rather than an idealized fantasy. This mirrors aspects of Christian grace and forgiveness, as Mahito learns to forgive himself and others, and to embrace a life that, while imperfect, offers opportunities for love and connection. Family values are central, focusing on Mahito's challenging but ultimately accepting relationship with his stepmother. Faith representation, if interpreted broadly as spirituality, is present through the animistic and magical elements of the otherworld. While not Christian faith, these elements suggest a longing for meaning beyond the material, which can serve as a springboard for Christian discussion on ultimate truth and hope found in Christ.

Additional Context

Best For Ages

Parental guidance is recommended for children aged 11-12, and it is generally considered suitable for ages 13 and over. The MPAA rates it PG-13 for 'some violent content/bloody images and smoking.' Many parent reviews and Common Sense Media suggest a minimum age of 10+ due to mature themes of grief, unsettling imagery, and a complex, often abstract plot that younger viewers may find confusing or overly intense.

Good to Know

The Boy and the Heron is a highly allegorical and dreamlike film. Its complex themes of grief, trauma, and existential questioning may be challenging for younger viewers to fully comprehend, even if they can tolerate the intense visuals. The narrative is often abstract and open to interpretation, which can lead to a less straightforward viewing experience compared to many Western animated films. Parents should be prepared for discussions regarding the film's deeper meanings and potentially unsettling imagery.

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