Yet questions remain: Why does Marnie insist on keeping their friendship a secret? What attracts shy, friendless Anna to her? And why does she seem so familiar? Their relationship swiftly deepens into something close to romantic love, as they bare their souls to each other. Yet the two strike up a friendship and begin to meet in secret at night. Impulsive and outgoing, Marnie is in many ways Anna’s opposite. There she meets Marnie, a blonde girl her age. But her curiosity is unquenched, and she returns at night to find the house brightly lit. A local confirms this, telling Anna that it used to be a holiday home for foreigners, but has long stood empty. Overwhelmed by déjà vu, she takes a closer look: the house appears to be abandoned. While exploring the coast, she spots a stately mansion across the inlet. Alienated from her classmates, angry with everyone and herself, she withdraws into her sketchbook.Īfter collapsing from an asthma attack, Anna is sent to recuperate in a small seaside town where live relatives of her parents. The girl is Anna, a sullen 12-year-old who lives with her foster parents in the city. The core plot, about a callow young girl who comes of age through contact with a strange dreamland, slots right into the studio’s canon. None of which is to suggest that When Marnie Was There, his second feature for the studio, is not recognisably a Ghibli film. And despite its standalone merits, it is being cast as the swan song for a production house he did not build. Through no fault of his own, his latest film could well be the last ever in-house Studio Ghibli feature. Yet he keeps having to explain to journalists how he is not Hayao Miyazaki or Isao Takahata. He is, in his own right, a towering animator. He is an accomplished director with an Oscar nomination to his name.
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