For those unfamiliar with this towering achievement in animation (how?), this is not your typical fairy tale. There are no clean-cut heroes, no damsels in distress and definitely no musical numbers (unless one counts the haunting orchestral score by the ever-iconic Joe Hisaishi). Instead, there is a cursed prince, a wolf-riding girl who bites people in the face and an entire ecosystem of gods, guns, grudges and gushing green goo.
At the heart of Princess Mononoke is a roaring environmental allegory, but Miyazaki being Miyazaki, it refuses to be straightforward. Here, the battle between human development and nature’s survival is not black and white, it is iron and moss, ambition and consequence. And while the characters may wield swords and gunpowder, the real weapon is ideology.
If environmentalism had a hype squad, this film would be its thunderous opening act.
Visually, Princess Mononoke is proof of the power of hand-drawn animation fused with just the right touch of digital magic. Even after nearly three decades, it remains a technical marvel. Every vine, mountain mist and furry snarl is animated with care that borders on obsessive.
Simply put, no studio today does it like Studio Ghibli. And no Ghibli film looks quite like Princess Mononoke, a historical fantasy soaked in blood, bark and big feelings.
There are no villains in this story, just people (and gods and pigs and wolves) trying to protect what matters most to them. It is this refusal to assign blame that gives the film its emotional weight.
It is political, it is personal and it is painfully relevant. Who knew an animated film from 1997 would so accurately mirror 2025’s world of climate anxiety, technological overreach and the occasional desire to throw a rock at society?
For longtime fans, this is the spiritual equivalent of a pilgrimage. Seeing Princess Mononoke in cinemas again is like reuniting with a chaotic old friend who taught an entire generation that environmental destruction is bad and wolves make excellent babysitters.
Bring tissues. And possibly a teddy bear.
By now, it should be considered a scientific fact: Miyazaki does not make bad films. Princess Mononoke is not just a classic, it is the reason Ghibli went global, the reason eco-fantasy became mainstream and the reason countless animated films since have dared to dream bigger.
Worship it
For the newcomers: welcome to the forest. For the veterans: welcome home.
CAST: Yoji Matsuda, Yuriko Ishida, Yuko Tanaka, Kaoru Kobayashi, Masahiko Nishimura
PLOT: 7/10
ACTING: 7/10
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