Hayao Miyazaki-scripted 90s teen romance sees an aspiring writer drawn to a potential soulmate thanks to library books and a curmudgeonly cat

While 2013’s The Wind Rises and 2023’s The Boy and the Heron saw Hayao Miyazaki break his wizard’s staff, artistically speaking, this lesser-known Studio Ghibli cut from 1995, based on his screenplay, shows he was dwelling on creative responsibilities from early on. Featuring a typical Ghibli protagonist on the brink of adulthood – aspiring schoolkid writer Shizuku (voiced by Yōko Honna) – this teen romance doubles up as an earnest pep talk on how to commit to the artistic life. It’s not quite as sophisticated, though, in its understanding of the interplay between imagination and reality as Miyazaki’s later masterpieces.

It also features highly inventive use of that 2010s soundtrack favourite: John Denver’s Take Me Home, Country Roads. Shizuku shows off her fledgling penmanship for a school performance of the song devising hilarious Japanese lyrics that satirise Tokyo’s “concrete roads”. But while her writing shows promise, her love life remains in the fantasy realm. Mainlining library books, she realises that the same name, Seiji Amasawa, keeps appearing on the lists of previous borrowers. It feels like fate is pointing her towards a soulmate – especially when a curmudgeonly cat leads her “like in a story” to an intriguing curio shop near the library.

As AI slop takes over our screens, what better antidote for enquiring minds than a magical film? We ask directors, producers and critics to pick one must-see movie for each year from infancy to early adulthood

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Screentime has a bad rep these days: it’s allegedly at the root of everything from the collapse of media literacy to the rise of the far right. For parents, and indeed anyone who cares about the future of the planet, the relationship children have to their screens is a particular hot potato.

The spectacular stage version of Studio Ghibli’s much-loved film has spent a year at the Gillian Lynne theatre in London. To celebrate, photographer Tristram Kenton was granted backstage access