It is hard to know what is the future of Studio Ghibli as co-founder Hayao Miyazaki might have made his final masterpiece last year with The Boy and the Heron. In the meantime, animators who had formerly worked for Ghibli had formed Studio Ponoc. Starting with 2017’s Mary and the Witch’s Flower. While being more enjoyable and magical than most western children’s movies, it does seem like the staff of Ponoc are doing Ghibli karaoke. We had to wait seven years for another feature and can they escape the shadow of their renowned predecessor? 

Based on the 2014 British children’s novel of the same name by A. F. Harrold, The Imaginary is about a small girl, Amanda (Rio Suzuki), and her imaginary friend, Rudger (Kokoro Terada), as their shared existence is confined to the attic of Amanda’s residence, where they delve into her vibrant imagination. However, upon being confronted by the Imaginary-hunting Mr. Bunting (Issey Ogata), which leads to a tragic accident, Amanda and Rudger are suddenly separated, leaving the latter to find himself in a sanctuary for forgotten Imaginaries.

Considering it was originally released in Japan last December, The Imaginary now being released internationally via Netflix could not have been at a better time as 2024 is already the year of the imaginary friend movie IF and Imaginary, both of which were not well-received. Directed by Yoshiyuki Momose, who worked as an animator on Ghibli classics like Spirited Away and Whisper of the Heart, his latest feature embraces the flights of fancy that don’t hold back on how wild a child’s imagination, as seen in Amanda and Rudger’s initial adventure. 

As we delve more into “the town of Imaginaries”, don’t bother trying to make sense of the world-building, which does allow the animators from Ponoc to present imaginative worlds through stunning hand-drawn animation. The town itself is the standout set-piece as not only do you have the varying designs of the Imaginaries themselves – showing that they didn’t all originate from a child’s mind – but also this world changes every day ranging from European cityscapes to Japan’s Edo period. 

For as much beauty that The Imaginary can throw, there is an element of darkness lurking in the corner, best personified by the creepy adult Mr. Bunting who will surely give kids nightmares, as well as his own imaginary, which could rival the ghostly girls that you often see in J-horror. Contrasting the imaginative worlds with the realistic-drawn English background, you also have the story of a girl and her widowed mother who are grieving over the passing of Amanda’s father, and out of that grief came the creation of Rudger. Although there is a priority of being a thrilling fantasy adventure over a story that challenges with profound themes, there is enough of an emotional core that pays off in the climatic minutes.

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This story contains spoilers from “House of the Dragon” Season 2, Episode 4, “The Red Dragon and the Gold.”

The Queen Who Never Was is no more.

In Sunday’s episode of “House of the Dragon,” “The Red Dragon and the Gold,” Princess Rhaenys Targaryen (Eve Best) volunteers to take her dragon, Meleys, into battle at Rook’s Rest, which is besieged by the Greens’ army, led by Ser Criston Cole.

She encounters two other dragon-riding Targaryens: Aegon and his beast Sunfyre, who are quickly downed, and Aemond and the ferocious Vhagar, who prove to be more formidable opponents. Vhagar deals a fatal blow to the much smaller Meleys, who falls from the sky. With a look of peaceful resignation on her face, Rhaenys plummets to certain death.

Her fate — and Aegon’s uncertain future — marks what is sure to be an escalation in the Targaryen family civil war known as the Dance of the Dragons. Rhaenys, who was passed over in the line of succession in favor of King Viserys (Paddy Considine) because of her gender — only to see him name his daughter Rhaenyra (Emma D’Arcy) as his heir — was a rare voice of restraint and caution in the harsh world of Westeros, breaking out the fiery beasts only when absolutely necessary.

Rhaenys’ demise also means “House of the Dragon” viewers will be deprived of Best, a regal actor who infused the role with steely poise and quiet wisdom. Best has some experience with playing women in close proximity to the throne, having starred as Carole Middleton in the final season of “The Crown” and Wallis Simpson in “The King’s Speech.” From her home in Italy — where birds could be heard chirping in the background — she spoke with The Times about her character’s farewell, and the real-world inspiration she drew from a certain female politician.

Presumably you had some idea that things would end this way for Rhaenys. But how did you react when you read the script?

It’s the nature of the beast. If you’re part of the “Game of Thrones” franchise, the strong likelihood is that there’s going to be a sticky end at some point. I knew [Rhaenys was going to die], I just didn’t know exactly when.

I was devastated on her behalf. I think she’s such a magnificent character and a magnificent woman. There’s that wonderful film “The Last Samurai.” There’s similar territory with Rhaenys. I said to Ryan [showrunner Ryan J. Condal] at the end of last season, “I want her to go full samurai when when things kick off,” because up until that moment in Season 1, when she breaks through her own glass ceiling on the dragon so fantastically, she stayed very neutral. She’s trodden very lightly through the minefield.

When you see these noble characters, these warriors with truth and goodness on their side, [dying], it’s agony. In the context of this world, it’s such a tremendous loss. In Westeros, as in our world, enlightened feminine role models are vital and much needed. That’s absolutely the role that she plays, particularly in Season 2 — this beacon, like an instruction manual to Rhaenyra. This is what a good ruler does. This is how you lead. That’s something that’s always struck me about the nature of this particular story, the backbone of it being these women being thrust into the midst of a patriarchal system that is in disarray.

What Rhaenys represents is someone with absolute authority, power, wisdom, intelligence, expertise, political savvy and utter compassion — a constant awareness of [the need for] collaboration and making a choice for love, as opposed to destruction.

Did you think about any real–world figures, whether historical or contemporary, in relation to this character? There have been a lot of Rhaenys-like women.

Absolutely, 100%, almost every single great woman you can think of [has] an element of [Rhaenys]. Sara Hess, who’s the one of the executive producers and the lead writers for the show, said to me on the first day, “There’s so much of Hillary Clinton [in Rhaenys].” God knows you couldn’t compare Viserys to the other one [former President Trump], but the similarities are very clear — to see that the person who is absolutely, hands down, best suited for the job is sidelined simply because she’s a woman, and then has to somehow find her way.

One of the things that gave me the most respect for Hillary Clinton was in the aftermath of [the 2016 election], how she navigated her role/non-role and brilliantly maintained her dignity, self-respect and leadership. That felt like territory that Rhaenys was treading.

I felt keenly aware of how extremely difficult that is, that particular dance — to not let the inevitable human disappointment turn to darker feelings of revenge, resentment, blame, to let none of it fester, as we see it is starting to taint choices that [Rhaenyra and Alicent] are making. We see them both going down these rabbit holes of potential disaster because of their personal circumstances. Rhaenys somehow manages to stay above it all in spite of every single blow that’s thrown at her. The poetry of her literally coming to an end in the sky on her dragon and letting go into eternity is perfect.

Why do you think Rhaenys ultimately sided with Rhaenyra and Daemon, despite everything that happened to her children because of them (and her own claim to the throne)?

The decision to side with them is really tough, but yet again, she takes the personal out of the equation. The bigger picture is that Rhaenyra is absolutely the heir to the throne. Rhaenys has such a strong feeling of “not again on my watch can this story be told. This is not going to happen again. Literally over my dead body.”

It’s very clear that [Rhaenyra] is the infinitely more sensible choice than Aegon. On all fronts, it’s the right thing to do. It’s almost like Rhaenys is programmed to do the right thing. She puts away her personal feelings, which is so hard to do. It’s such a strong temptation to scratch her eyes out or just go off back to Driftmark with Corlys, sit looking at the sunset and wash her hands of all of them.

We’ve seen Rhaenys urge restraint over and over again. Why does she decide to use deadly force this time?

It’s reached the moment when it’s actually necessary. There’s a point of no return. She’s tried everything, she’s argued for restraint, collaboration and communication. She [told Rhaenyra] to go talk it out with Alicent, sister to sister, because these two women love each other and they have the power to heal.

The Black Council spends a lot of time debating whether or not to unleash the dragons. When we were rehearsing, I said, “What’s the context? How can we relate to this?” And Ryan said, straightaway, “Nuclear war.” Nuclear war is inevitable [in this world], and she knows 100% that she’s the last grown-up in the room, and the only person that can make that take that action.

The moment when she says, “Send me,” was changed at the last minute. Sara Hess, one of the writers, suggested that we change it to, “You must send me,” which is so brilliant, because it’s an instruction, almost like her last piece of guidance. She knows that she’s sacrificing herself, effectively. She knows that it’s the red button, and if anybody’s going to have the responsibility for pressing that red button and dealing with the appalling, devastating weight of that action, it has to be her, because she’s the one who can cope with it, not just physically, but emotionally. I think she knows damn well that it is a kamikaze mission and is downplaying it.

Tell me about shooting the battle sequence. What’s the hardest part of riding a dragon?

Technically, it’s incredibly demanding and exhausting. I certainly feel my age, I don’t think this is my comfort zone at all. I kept having to ask for many more cushions. It was two weeks solid, just me, all morning and evening, all afternoon, doing quite a lot of physical stuff. That was a challenge. But the more challenging part was the emotional story. The moment of their joint demise was my penultimate shot. The buildup to it was quite intense. I was feeling a lot of pressure to make a good death, to do the character justice.

Ryan very sweetly came to set and gave a lovely speech, saying goodbye. The spotlight on this moment just became more and more unbearable. It was complicated to do the camera angles, and they had to prep for everything. I was standing about, waiting and feeling more anxious. By the time [we got to it], I was a pressure cooker ready to explode. I was strapped on — and it was over in a flash. We did two takes, and that was it, which was perfect. In that moment, what was key about it for her was this absolute, letting go and acceptance. This is exactly what one goes through as an actor: In the end, you have to just let go and accept because you’re not in control.

Ti West’s X Trilogy: From divine horror success to “MaXXXine” conclusion.

Trilogies pose a formidable challenge. Achieving success once in filmmaking is a feat, but achieving it across three films where each complements and builds upon the last is akin to divine intervention. This challenge is particularly amplified in the horror genre, where great trilogies are rare and prized. Unlike other genres, horror retains elements of cinema’s attraction-based past, drawing audiences into darkened theaters with the promise of profoundly unsettling experiences that linger long after the credits roll.

Achieving success once in the horror genre takes considerable talent, but doing so three times in a row is an extraordinary accomplishment. Creating three installments of a horror series that are distinct enough to stand alone yet cohesive enough to form a unified whole is a daunting task. Ti West and his collaborators confront this challenge boldly with the X trilogy. While the trilogy-capping “MaXXXine“ may not entirely meet expectations, it remains consistently entertaining and compelling to witness.

5. MaXXXimal Filmmaking

With “X,” Ti West and his team immersed viewers in a film deeply steeped in the gritty ’70s aesthetic, blending elements of low-budget horror with adult film sensibilities. Transitioning to “Pearl,” they skillfully crafted a vibrant, Technicolor experience reminiscent of the whimsical delights from the 1940s, evoking the spirit of Powell and Pressburger. Now, with “MaXXXine,” West and his collaborators boldly delve into the excess and lunacy-driven style of the 1980s, fully embracing its over-indulgent ethos.

In an era where ’80s nostalgia has already had its moment, “MaXXXine” emerges like an irrepressible overdose. With the largest budget of the trilogy, production designer Jason Kisvarday meticulously reconstructs a glamorous yet debaucherous Hollywood of the 1980s. The results are breathtaking, a testament to the filmmaking prowess evident throughout the entire film. “MaXXXine” stands as a triumphant victory lap following the successes of “X” and “Pearl,” granting Ti West unprecedented access to Hollywood’s resources. From expansive soundstage sets to A-list co-stars and elaborate lighting setups, the film showcases West and his team at the peak of their creative powers.

The outcome is a wonderfully maximalist piece of filmmaking, where every dollar spent translates directly onto the screen. Ti West and cinematographer Eliot Rockett craft an immersive and visually stunning experience. “MaXXXine” authentically embodies the ’80s aesthetic, overflowing with nostalgia, and it’s immensely satisfying to witness West harness these tools to capture something so deeply personal and beloved to him.

4. The Big-Name Scenery-Chewers

As mentioned, with its much larger budget, “MaXXXine” also has a whole host of big-name stars who pop up throughout the film, all of whom seem to be having an infectious blast while doing so. Everyone from Lily Collins to Bobby Cannavale to Michelle Monaghan to Halsey turns up in roles of varying sizes and leaves their mark, but the true MVPs, in my opinion, are Kevin Bacon, Giancarlo Esposito, and Elizabeth Debicki.

Bacon is in the film a substantial bit more than I initially assumed he would be, and it is wonderful to see an actor as entrenched in audiences’ collective consciousness show up and remind us exactly why he’s so well-known in the first place. As a private eye with questionable morals, Bacon exudes sleaze and devours every morsel of dialogue he’s given. Esposito is indelibly commanding as something of a parody of the cliché Hollywood agent character archetype, and threatens to steal the show every time he shows up. And Debicki’s performance is easily the most reserved and understated of the bunch, but that winds up working in her favor. There’s a quiet intensity to her conversations with Mia Goth’s Maxine. Her character is ultimately saddled with spouting off some of the film’s biggest themes, and what could have easily sounded hack in another performer’s hands plays with gravitas from Debicki.

3. WEAK SPOT: The Passive Tale of Maxine Minx

So what’s wrong with “MaXXXine?” I’ve already talked about how much I enjoyed the filmmaking craft on display, and I’m going to praise both Mia Goth’s lead performance and Ti West’s direction. But what doesn’t work for me about the film? Sadly, it’s the story.

For as gloriously indulgent and well-crafted as much of “MaXXXine” is, it is ultimately in service of a story that never comes together. By overtly embracing the ‘80s aesthetic and setting, Ti West’s script intertwines various real-world ‘80s elements into the story, from Satanic Panic to the Night Stalker. Unfortunately, this approach is ultimately to the detriment of the film, as it never really develops a coherent narrative of its own. These various threads lead to a fracturing and fragmentation of the plot.

The biggest casualty of all of this is Maxine Minx herself. The titular character is left entirely passive within her own film, burdened with a story that doesn’t embrace the central conflict of want vs. need at the heart of her internal journey across the trilogy. Instead, MaXXXine leaves the character stranded, not playing an active role in her own story. She spends most of the film willfully ignoring the story beats unfolding around her, and the climax quite literally sees her tied up and uninvolved in every single action beat that plays out.

By the time the film reaches its conclusion, it can’t help but feel deflating.

2. Mia Goth’s Performance

Having said all of that, Mia Goth continues to deliver an incredible performance as Maxine Minx even under these circumstances. I wish she had been given a greater chance to shine through involvement in the actual story here, but Goth so thoroughly and articulately elevates what she is given that it remains astounding.

For what it’s worth, I found Goth to be incredible in her dual role in X and even better in Pearl. Goth’s performance in Pearl, right down to its final shot, is absolutely immaculate. In comparison, I don’t find her performance in “MaXXXine” to be as compelling simply because she didn’t have the same level of enthralling material to work with. However, I do absolutely adore the opening scene of “MaXXXine,” which serves as this film’s equivalent to Pearl’s final shot. In it, Goth delivers a masterclass performance and then immediately subverts it. Great stuff.

1. Ti West’s Direct and Editing

While I wish the story felt more motivated and coherent in driving toward its central themes, I would be lying if I said I didn’t thoroughly enjoy the vast majority of “MaXXXine.” Ti West, handling directorial and editing duties on his own as he did with the prior two installments, showcases his graduation to big-budget giallo-influenced ‘80s horror filmmaking while retaining the meticulous visual craft of his earlier work. West is a supremely talented filmmaker, and even if “MaXXXine” serves as a big victory lap for him, Goth, and the team behind these films, that’s fine by me. They’ve earned the right to bask in the limelight, and I genuinely hope West continues to operate at this level for future films. Having crafted great low-budget horror films for decades, seeing him play in a larger playground is undeniably enticing.

(C+)

Overall, “MaXXXine” doesn’t quite stick the landing. It feels less like a cohesive and satisfying film in its own right and more like an epilogue to the prior two films. The story lacks a driving passion and instead seems to follow the inevitable fallout from events set in motion by the earlier installments. It’s hard to argue that “MaXXXine” is the strongest of the trilogy, and viewers unfamiliar with “X” or “Pearl” may not find it satisfying on its own.

That said, despite these shortcomings, “MaXXXine” features great performances, stupendous production design, Mia Goth’s exceptional lead role, and is driven by Ti West’s phenomenal filmmaking craft. It stands as a cinema-of-attractions delight in its own right.