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Princess Mononoke

Princess Mononoke

Adventure · Fantasy · Animation · 1997

Ashitaka, a prince of the disappearing Emishi people, is cursed by a demonized boar god and must journey to the west to find a cure. Along the way, he encounters San, a young human woman fighting to protect the forest, and Lady Eboshi, who is trying to destroy it. Ashitaka must find a way to bring balance to this conflict.

Movie details

Princess Mononoke

“The fate of the world rests on the courage of one warrior.”

1997 Adventure · Fantasy · Animation 2h 14m

Critical arithmetic

One number, for now.

TMDB

8.3 / 10

Community rating

Ashitaka, a prince of the disappearing Emishi people, is cursed by a demonized boar god and must journey to the west to find a cure. Along the way, he encounters San, a young human woman fighting to protect the forest, and Lady Eboshi, who is trying to destroy it. Ashitaka must find a way to bring balance to this conflict.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Princess Mononoke?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Hayao Miyazaki

Written by

Hayao Miyazaki

Yoji Matsuda

Yoji Matsuda

Ashitaka (voice)

Yuriko Ishida

Yuriko Ishida

San / Kaya (voice)

Yuko Tanaka

Yuko Tanaka

Eboshi Gozen (voice)

Kaoru Kobayashi

Kaoru Kobayashi

Jikobo (voice)

Masahiko Nishimura

Masahiko Nishimura

Kouroku (voice)

Tsunehiko Kamijô

Tsunehiko Kamijô

Gonza (voice)

Akihiro Miwa

Akihiro Miwa

Mrs. Moro (voice)

Court is in session

Put Princess Mononoke on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.