HBB: Hayao Miyazaki’s “The Boy and the Heron”

The Boy and the Heron explores how childhood grief shapes mental health and
relationships.

by Diya Nair

Grief during childhood is not always expressed through words or visible sadness. It can affect how children behave, relate to others, and respond to changes in ways that adults struggle to understand. Hayao Miyazaki’s animated film The Boy and the Heron features imaginative creatures and fantastical worlds, but its underlying story explores how losing a parent can affect a child’s mental health, relationships, and sense of belonging.

Released in 2023, the film follows 12-year-old Mahito, whose mother dies in a hospital fire during World War II. His father later marries Natsuko and moves the family to the countryside. Mahito struggles at school and remains distant from Natsuko, even as she tries to build a relationship with him. This highlights how children navigate grief while adjusting to family changes, especially when they are not ready to accept support.

One scene I found particularly striking is when Mahito deliberately hits himself in the head with a rock while walking home from school. His father assumes other students hurt him and confronts the school, unaware that Mahito injured himself. What stood out to me about his
reaction was that, despite his genuine concern for Mahito’s safety, he fails to recognize the emotional distress that may have led to his actions. Miyazaki never explains why Mahito hurts himself, leaving viewers to consider how grief, isolation, and frustration may be affecting him in ways he struggles to express. The scene raises questions about how adults recognize mental health struggles in children when distress appears through behavior rather than words.

Mahito struggles to accept his mother’s death, experiencing recurring nightmares about the hospital fire where he relives his inability to save her. These memories show how the trauma surrounding a parent’s death can affect a child’s emotional well-being. When a mysterious heron claims his mother is still alive, Mahito is drawn to the possibility of seeing her again, despite his doubts. What I appreciated about Miyazaki’s use of fantasy is how it allows Mahito to confront feelings he rarely expresses, particularly his difficulty accepting that his mother is gone.

As Mahito ventures further into the fantasy world, he meets Himi, a young girl later revealed to be his mother as a child. I found their time together particularly significant because it allows him to reconnect with her beyond the painful memories of the fire, even though he knows he cannot prevent her death. Their farewell shows how accepting a loss can coexist with maintaining an emotional connection to someone who has died.

When Mahito returns home, he is more open to accepting Natsuko and reconnecting with his family, even though he is still grieving. I found this ending meaningful because it does not suggest that children must completely move past a parent’s death to begin healing. Instead, The Boy and the Heron portrays childhood grief as an ongoing process in which learning to live with loss also involves rebuilding trust, finding security, and strengthening relationships.

The Boy and the Heron is available on HBO Max.