The Studio Ghibli shorts that you will never be able to see (unless you pay a lot of money in Japan)

There are those who believe that Studio Ghibli ends with My Neighbor Totoro and Spirited Away, but the truth is that its production is almost ungraspable: 24 films (including The Red Turtle, which is actually a delightful co-production with several French producers), a television series, a good number of commercials, four plays, and even two video games (the legendary Ni No Kuni). Oh! And even more, if you want to see all the previous work of its leaders, such as Lupin III: The Castle of Cagliostro, Future Boy Conan, or Nausicaä of the Valley of the Wind. Everything […]

Some believe that Studio Ghibli ends with My Neighbor Totoro and Spirited Away, but the truth is that its production is almost ungraspable: 24 films (including The Red Turtle, which is actually a delightful co-production with several French producers), a television series, a good number of commercials, four plays, and even two video games (the legendary Ni No Kuni). Oh! And even more, if you want to see all the previous work of its leaders, such as Lupin III: The Castle of Cagliostro, Future Boy Conan, or Nausicaä of the Valley of the Wind. All wonders.

Trip to Japan!

Surely more than once you have planned your dream trip to Japan or, even better, you have boarded a plane to go to the Land of the Rising Sun. And you know then that one of the things that every serious movie buff must do is visit the Ghibli Museum, a must-see stop near Tokyo where you will see originals, learn how animation is done, see Hayao Miyazaki’s study table, and many more things, with fascinating architecture and where, perhaps, its only downside (depending on how you look at it) is that photos are not allowed.

What not everyone knows is that the entrance to this magical place is a random frame from one of its lesser-known products: the short films that can only be seen at the Ghibli Museum and that rotate throughout the months. They are small masterpieces, some of them directed by Miyazaki himself, that have never been released in physical format and cannot be seen in any way outside of that place. I have had the opportunity to see two of them on two different visits, and they are pure Ghibli, a feast of wonder. I only regret not being able to see each and every one of them!

Among the short films there is a kind of sequel to My Neighbor Totoro (Mei and the Kittenbus) in which Mei goes out at night again with the Kittenbus, a miniature version of the Catbus, and encounters all kinds of adventures. It is also the place where, hopefully, you will be able to see Boro the caterpillar, in which Miyazaki animated for the first time using CGI instead of classic hand-drawn animation, because he couldn’t find another way to tell this story, which the director had been contemplating since the era of Princess Mononoke.

And surely, if you are like me, you are already thinking “Well, but there must be a way to see them, right? They must be filtered on the Internet, where there is everything.” And… the truth is that no. There is some stuff here and there, and even transcripts of the shorts that can be purchased at the Ghibli Museum shop, but that’s about it: they are not lost media because they are more than located in the world, but it is something that is not on the Internet. Perhaps that’s why it is so refreshing to go to the museum and enjoy seeing something for the first time, almost as if you were an audiovisual explorer in search of the lost Atlantis.

While Hayao Miyazaki continues to work on his next film (which he insists will be the last, but we’ve fallen for that lie several times already), there is always the dream and hope that, no matter what happens, there will always be something more from Studio Ghibli to unearth, even if it’s just some shorts in the coolest cinema you will ever be in your life. I don’t think you were exactly lacking the desire to go to Japan, but it doesn’t hurt to add more fuel to the fire.

The Japanese 'Power Rangers' has just gotten into the biggest controversy of its 50 years on air

On August 28, 1993, the Power Rangers series made its debut in the United States, quickly becoming a cultural phenomenon among teenagers. This production, however, is a re-packaging of Super Sentai, a Japanese program that has been airing since 1975. As Super Sentai prepares to conclude after the airing of No.1 Sentai Gozyuger, the series faces turbulence that reflects social and cultural tensions in Japan. Drinking is not a great pleasure No.1 Sentai Gozyuger, which premiered in February of this year, introduces a novelty by featuring a woman as the Ranger […]

On August 28, 1993, the Power Rangers series made its debut in the United States, quickly becoming a cultural phenomenon among teenagers. This production, however, is a repackaging of Super Sentai, a Japanese program that has been airing since 1975. As Super Sentai prepares to conclude after the airing of No.1 Sentai Gozyuger, the series faces turmoil that reflects social and cultural tensions in Japan.

Drinking is not a great pleasure

No.1 Sentai Gozyuger, which premiered in February of this year, introduces a novelty by featuring a woman as the Black Ranger, Maya Imamori, a rising young actress. However, her participation was abruptly interrupted due to a scandal related to underage drinking before reaching the legal age in Japan, which is 20 years old. Despite her commitments as a Japanese idol, Imamori was expelled from the series after being the subject of rumors and media harassment that questioned her personal life.

The decision to remove Imamori from the series has sparked a debate about sexism and racism in the Japanese entertainment industry. The actress, of Filipino descent, was the target of disproportionate criticism and social pressure led her to publicly apologize, an act that reflects the strict expectations faced by idols in Japan.

As a result of her expulsion, the episode in which she was to appear as the protagonist was removed, and her character is now played by another actress. Starting from episode 40, which will air on November 30, Imamori will be permanently replaced. These types of situations, common in the environment of Japanese celebrities, highlight the culture of cancellation and the severe consequences that mistakes can bring in a society threatened by tradition and public scrutiny.

Never before has anime made more money than it does now

The anime industry in Japan has reached a historic market value in 2024, being valued at 3.84 billion yen, equivalent to approximately 25.25 billion dollars. This remarkable growth was highlighted by the Japanese Animation Association (AJA) during a presentation at TIFFCOM, the commercial arm of the Tokyo International Film Festival. Anime, richer than ever The event has established itself as an essential meeting point for the industry, where trends and future projections are discussed. During the session, the Toho Global studio, known worldwide for its iconic Godzilla franchise, also offered presentations […]

The anime industry in Japan has reached a historic market value in 2024, valued at 3.84 trillion yen, equivalent to approximately 25.25 billion dollars. This remarkable growth was highlighted by the Japan Animation Association (AJA) during a presentation at TIFFCOM, the commercial arm of the Tokyo International Film Festival.

Anime, richer than ever

The event has established itself as an essential meeting point for the industry, where trends and future projections are discussed. During the session, the studio Toho Global, known worldwide for its iconic franchise Godzilla, also offered presentations on its plans for international expansion, reflecting the growing interest in anime and its influence on the global entertainment market.

This increase in the value of the industry could be attributed to several factors, including the rise in production, the growing global demand for anime content, and the emergence of streaming platforms that have facilitated access to these products. As more people become interested in anime, its popularity is expected to continue rising, offering even more opportunities for creators and companies involved.

Likewise, the growth of the industry presents a continuous development landscape for international collaborations and cultural exchange. With the projection of studies like Toho, Japanese anime not only strengthens its presence in its local market, but also positions itself as a key player in the global entertainment arena.

At a time when Japanese entertainment continues to gain traction beyond its borders, the anime industry not only demonstrates its resilience but also its potential to enter new markets and conquer diverse audiences, which paves the way for exciting future developments.