Hayao Miyazaki has come to occupy something of a rarefied space among millennials; his 2001 opus, Spirited Away, arrived at just the moment when we had begun to outgrow Disney films but still craved rich fantasy. Spirited Away for me was a revelation, a piece of media that coaxed me out of childhood and hinted at the fascinating, mature beauty that could exist beyond The Little Mermaid. Now, over sixty years into his career, and after several announcements of his retirement, the enigmatic Miyazaki returns with the illuminating The Boy and the Heron (Studio Ghibli). I approached the film tentatively, believing that I had outgrown all of his tricks; I prepared myself for a by-the-numbers hero’s journey with magical creatures, a supernatural MacGuffin, and perhaps some latent undiscovered powers. I folded my arms, believing that I could not glean anything new from this film, that it was made for the next generation of young artists and I was only paying my respects by purchasing a ticket. Yet I was stretched; once the momentum of the film was truly underway, I found nothing predictable plot-wise, and in fact was entirely overwhelmed by the sensory experience of the film. Does this location exist physically, or is it a dream? Does the protagonist actually fall through time, or is it a metaphor? What is this new realm, and who are these enemies? Miyazaki does not deliver easy answers. If what I’d wanted was a return to late childhood, I could watch Spirited Away again; if I wanted digestible morality, I could watch a Pixar or Marvel film. Miyazaki is one of the few artists skilled or daring enough to create an experience that viewers can explore for themselves without signposts or marked exits. We are left to discover our own hero’s journey, which can be only uncovered through the interrogation of oneself. —Jonathan Heggen