WARN SPOILERS!

Now history
For a long time, the last film of the legendary Ghibli studio, which is undergoing a complete transformation after the retirement of the founders, was also conceived as a partition project. As the first film in the history of the studio without any creative participation of Miyazaki or Takahata, it presents the entire project of younger filmmakers, including production (led by Yoshiaki Nishimura, who led the production of "Princess Kaguji"). Unfortunately, the final Ghibli production, which was not at the top of the annual attendance ranking, unfortunately became the final in many years - sales of 3.6 billion yen represent more than Takahat's "Princess Kaguja", but at least in recent years from classically animated ghibleries. This is not the first Ghibli studio title to be targeted at adolescents, so it is speculated that the reason was rather the widely publicized retirement of Miyazaki and the impression on the part of viewers that a quality guarantor is leaving the established brand.

But such fears dissipate immediately after the film is viewed. "When Marnie Was There" in terms of the quality of animation and screenplay fits exactly into the company's portfolio, although unlike the classics of Haja Miyazaki, it does not contain so many fantastic elements, but on the contrary focuses more directly on the psychology of the characters. This is where its uniqueness and uniqueness lies. After a shaky, albeit still delicious, "Arrietta" Hiromasa Jonebayashi demonstrated his own style and voice within the Ghibli brand. In this case, he made an enchantingly delicate film about growing up and searching for his own identity and the personal harmony associated with it. At the same time, he draws the audience into the inner world of his characters, while he transforms the classic questions of adolescence into a densely symbolist narrative, which, although unfolding in the peace of the summer holidays in the countryside, breathes great emotions.

Something about the movie
Thanks to the shadows of the present, we sometimes manage to enlighten the unknown past. Annoying asthma, a troubling little girl, is the reason why she is sent on a healing stay to her aunt and uncle in the countryside. A lonely, gloomy and not very communicative girl, she likes to draw scenes of the surrounding landscape somewhere in seclusion.
During one of the walks through the swampy seascape, he gets to know an abandoned large house. Unknown by what, he is very close to her. He soon meets his resident - a young blonde girl, about her age. He shows her the nooks and crannies of the house and surroundings, introduces her to a party organized by the parents of the little blonde. Both girls are friends. But as a mysterious water tower rises above the country, a shadow of mystery hovers over the newly discovered friend ... A psychologically reworked and at the same time very moving animated adventure of self-knowledge of one's own past through discovered diary records.

My statement
I would fully understand and perhaps even approve if the Academy gave a statuette to this warm, emotional and slow film about searching for oneself through the eyes of a twelve-year-old schoolgirl than a beautifully playful and imaginative but more story-oriented Pixar notch. that the Ghibli studio did not come up with something really fantastic and exceptional this time that can catch the eye at first glance.

The film definitely has its problems, the slowness sometimes turns into almost length, the dialogues here and there seem kind of undercooked and the story unfolds very mysteriously and mysteriously, while sometimes ignoring things that should play a bigger role due to unraveling, moreover for the eyes to the Czech viewer (or maybe just me, who knows) the fundamental problem in Anna's relationship with her aunt is, let's say, slightly ridiculous, although on the other hand, from the point of view of a sensitive child like Anna, it could certainly be crucial.

Otherwise, it's a really beautiful, moving film, strong in depicting friendship and trying to become "normal", in which it resonates especially, after all, in the fusion of fantasy with reality, depicting scenery of nature and settlements (Ghibli and his combination of two types of drawing, one for the characters and the other for the interiors and exteriors is simple and always beautiful) and a kind of overall atmosphere, which, however, takes full advantage of all the details and emotions only after revealing what was at stake (or when one can reveal it oneself). Nevertheless, I don't think I would like to see the film again in the future, there are too many more vivid and fantastic drawings in the studio's studio and overall Japanese production, which can still tell deep and emotional stories.