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A 3D render of a band performing on a dark stage. In the foreground, a child in a striped shirt and apron sings passionately into a microphone. Behind them, three figures with voluminous, colourful hair play the drums, guitar and keyboard.
A 3D render of a band performing on a dark stage. In the foreground, a child in a striped shirt and apron sings passionately into a microphone. Behind them, three figures with voluminous, colourful hair play the drums, guitar and keyboard.

Studio Ghibli unveils images from upcoming CGI film, Aya and the Witch

Directed by Hayao Miyazaki’s son Goro, it is the studio’s first fully computer-generated feature, moving away from its renowned hand-drawn style.

Words
Jenny Brewer
—
Date
23 June 2020

Studio Ghibli has revealed first images from its much-anticipated upcoming film, Aya and the Witch, its first fully CGI feature. Directed by Goro Miyazaki, the son of studio co-founder Hayao Miyazaki, the film is based Diana Wynne Jones’ Earwig and the Witch – the same author of Howl’s Moving Castle, the basis for one of Ghibli’s best known other films. The story sees an orphan named Aya, who is unknowingly the daughter of a witch, adopted by another witch and enlisting the help of a talking cat to escape her evil clutches.

The film marks a hotly debated move away from its renowned hand-drawn style, exploring how its unique worlds and characters come to life in 3D. While Goro Miyazaki is director, his father Hayao is given a planning credit on the film, while he is currently working on his next film, How Do You Live? Goro previously directedTales from Earthsea and From Up on Poppy Hill, as well as the series Ronja, the Robber’s Daughter, a computer-animated series which closely retains Ghibli’s traditional aesthetic. Ronja was animated by Polygon Pictures and co-produced by Studio Ghibli, which has prompted many reports that Polygon may be involved on Aya, as Ghibli does not have capacity to produce a fully CG film in-house.

Goro commented on the film's premise (translated from Japanese) that in Japan, “there are many adults and few children. It must be tough on our children to face all these adults in small numbers. When I was thinking about that, I met Aya. How does Aya deal with these annoying adults? Please watch Aya and the Witch to find out.”

Aya has been selected as one of four animations in the Cannes Film Festival 2021 line-up, alongside Pixar’s Soul, directed by Pete Docter and Kemp Powers and starring Jamie Foxx; Flee by Danish director Jonas Poher Rasmussen; and Josep, a film about drawing by French cartoonist Aurel.

Aya and the Witch will be broadcast on Japanese TV in winter 2020, with details on the worldwide release still to be confirmed.

GalleryStudio Ghibli: Aya and the Witch

A 3D render of a child in pink polka-dot pyjamas leaning over a small, open book. A black cat with glowing green eyes watches from the shadows behind them.
A 3D render of five children standing in a row, wearing white pinafores and school clothes. They each have distinct facial expressions, ranging from confusion and anger to suspicion.
A 3D render of a pale, pointed-eared figure with glowing red eyes and dark, swept-up hair. They wear a patterned purple robe and round glasses, gesturing with one hand while looking forward with a strained expression.
A 3D render of a person with voluminous, curly blue hair and purple eyeshadow. They wear a green turtleneck under a brown textured blazer and smile with a confident expression.
A 3D render of three figures with voluminous curly hair posing by an orange car. Two people sit on the bonnet, laughing, while a third person with purple hair and sunglasses stands behind them. They are set against a bright coastal backdrop of green grass and a blue sea.
A 3D render of a child with brown hair tied in two upright pigtails. They wear a green striped shirt under a stained apron and hold a long wooden pole.

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Further Info

www.ghibli.jp

About the Author

Jenny Brewer

—

Jenny oversees editorial output across It’s Nice That. Get in touch with writing pitches for features or opinion pieces, big creative story tips, or questions about all things editorial. [email protected]

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