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Studio Ponoc

Studio Ponoc is a Japanese animation studio based in Tokyo, specializing in hand-drawn, hand-painted feature films aimed at children and families worldwide.^[1]^[2] Founded in 2015 by Yoshiaki Nishimura, a former lead producer at Studio Ghibli who had worked on acclaimed projects like The Tale of the Princess Kaguya, the studio emerged in the wake of Ghibli's temporary closure of its production division in 2014, drawing many veteran animators from that legendary outfit to continue innovative storytelling traditions.^[2]^[3]^[4] The studio's name, "Ponoc," derives from the Serbo-Croatian word for "midnight," symbolizing the dawn of a new era in Japanese animation, much like Studio Ghibli's own evocative naming.^[5] Its debut feature, Mary and the Witch's Flower (2017), directed by former Ghibli animator Hiromasa Yonebayashi, became a global success, released in over 150 countries and earning praise for its lush visuals and enchanting narrative adapted from Mary Stewart's novel.^[1]^[4] Subsequent works include the anthology Modest Heroes (2018), comprising three original short films, and The Imaginary (2024), directed by Yoshiyuki Momose and based on A.F. Harrold's award-winning children's book, which explores themes of imagination and companionship through innovative 2D techniques.^[6]^[7] In 2024, Netflix secured exclusive global streaming rights to Ponoc's upcoming film slate, underscoring the studio's growing international reach and commitment to high-quality, heartfelt animation.^[4]^[8] Nishimura has emphasized Ponoc's mission to foster trust among young audiences, positioning the studio as a reliable "imaginary friend" that delivers films blending wonder, emotional depth, and technical excellence, often incorporating advanced digital enhancements to traditional hand-drawn styles.^[3]^[7] With ongoing projects, including a new feature by Yonebayashi, Ponoc continues to honor its Ghibli roots while carving an independent path in the animation landscape.^[3]

Overview

Founding and background

Studio Ponoc was founded on April 15, 2015, by Yoshiaki Nishimura, a former lead producer at Studio Ghibli.^[9] The studio's establishment came in the wake of Studio Ghibli's announcement of a production hiatus in August 2014, following the retirement of key figures like Hayao Miyazaki and the completion of major projects such as The Wind Rises.^[10] This period of uncertainty at Ghibli prompted many of its animators and staff to seek new opportunities, leading Nishimura to form an independent entity dedicated to continuing high-quality hand-drawn animation.^[11] Headquartered in Musashino, Tokyo, Japan, Studio Ponoc quickly assembled an initial team by recruiting former Ghibli personnel, including animators and directors who had contributed to acclaimed films like The Tale of the Princess Kaguya.^[12]^[9] The studio's formation emphasized independence while building on the expertise of its Ghibli alumni, aiming to produce original animated features without relying on the parent studio's structure. In December 2016, Studio Ponoc announced its debut feature film, Mary and the Witch's Flower, directed by Hiromasa Yonebayashi, marking the studio's entry into feature-length production.^[9] Early funding for this project and the studio's operations came through a production committee that included Nippon Television Network (NTV), Hankyu Hanshin Holdings, Toho, and other partners, enabling independent animation development outside Ghibli's ecosystem.^[13]^[14]

Name and symbolism

The name "Ponoc" derives from the Serbo-Croatian word pónoć, meaning "midnight," selected to evoke the transition from darkness to renewal in the Japanese animation industry.^[5]^[6] Studio founder Yoshiaki Nishimura chose the name during the studio's establishment in 2015, drawing on its connotation of midnight as the pivotal moment between the end of one day and the start of another, symbolizing perseverance through industry challenges and a fresh beginning for hand-drawn animation.^[15]^[5] This choice intentionally avoided direct references to Studio Ghibli, Nishimura's former employer, while positioning Ponoc as a successor emphasizing hope and innovation amid shifting market dynamics and the decline of traditional production models.^[16] Symbolically, "Ponoc" represents a renewal at the "midnight" of Japanese animation's difficulties, contrasting with Ghibli's name—derived from the Saharan wind signifying change—and underscoring a new era of creative endurance and storytelling for future generations.^[6]^[5] As Nishimura explained, midnight serves as "the connecting point between the end of the day and the beginning of a new day," encapsulating the studio's mission to carry forward high-quality, heartfelt animation.^[6]

Organization

Key personnel

Studio Ponoc was founded by producer Yoshiaki Nishimura in 2015, following his tenure as a lead producer at Studio Ghibli, where he contributed to acclaimed films including The Tale of the Princess Kaguya.^[6] As the studio's central figure, Nishimura oversees all projects, emphasizing hand-drawn animation and storytelling rooted in emotional depth, drawing from his experience managing Ghibli's production pipelines.^[17] Co-founding director Hiromasa Yonebayashi, a veteran animator from Studio Ghibli who worked on key sequences in Spirited Away, helmed Ponoc's debut feature Mary and the Witch's Flower and the segment "Kanini & Kanino" in the anthology Modest Heroes.^[18] His transition to Ponoc helped establish the studio's commitment to whimsical, adventure-driven narratives with meticulous animation details.^[19] Yoshiyuki Momose serves as a pivotal director at Ponoc, with a background in Ghibli's Porco Rosso as a key animator; he directed the "Life Ain't Gonna Lose" segment in Modest Heroes, the Olympic-themed short Tomorrow's Leaves, and the feature The Imaginary.^[20] Momose's work highlights Ponoc's focus on imaginative, heartfelt stories that blend humor and introspection.^[21] Other notable staff include director Akihiko Yamashita, who led the "Invisible" segment in Modest Heroes, bringing his expertise in character-driven action to explore themes of isolation and resilience.^[22] Animators such as Kenichi Konishi, a former Ghibli artist who supervised animation on The Imaginary, exemplify the talent pool that transitioned to Ponoc.^[1] As of 2025, Studio Ponoc employs approximately 100 staff members, a significant portion of whom are former Studio Ghibli employees, ensuring the continuation of specialized hand-drawn animation techniques amid industry shifts toward digital methods.^[23] This retention strategy has allowed Ponoc to maintain high production standards while fostering a collaborative environment for emerging animators.^[24]

Facilities and operations

Studio Ponoc is headquartered in Musashino, Tokyo, at 2-10-21 Kyonancho, within the Niikura Building, where it maintains in-house production facilities equipped for full animation workflows.^[25] The studio's setup supports end-to-end creation of animated features, starting from a modest operation built from scratch after its 2015 founding, including specialized equipment for drawing, painting, and compositing.^[19] As an independent entity, Studio Ponoc adopts a selective operational model, focusing on a limited number of projects to ensure quality and sustainability, with feature films typically taking two to six years to complete depending on scope and refinements.^[7] This approach contrasts with larger studios by prioritizing methodical development over rapid output, aiming to foster a healthier work environment amid the animation industry's demands.^[19] The studio collaborates with partners for funding and distribution, including Nippon Television Network as a key producer for its debut feature Mary and the Witch's Flower.^[26] In 2024, it entered a multi-film partnership with Netflix for global streaming rights, beginning with The Imaginary, alongside international co-productions such as with France's Les Films du Poisson.^[8]^[4]^[7] Studio Ponoc's production pipeline centers on traditional 2D hand-drawn animation, enhanced by digital tools for efficiency in backgrounds and effects while preserving hand-painted aesthetics.^[1] This method allows for detailed, expressive visuals, as seen in innovations like refined character movements integrated with complex environments.^[7] Since its post-2015 establishment, the studio has faced challenges in balancing artistic integrity with financial sustainability, including initial low budgets and extended timelines that strained resources during growth from a small team to over 400 staff at peak production.^[27] These hurdles underscore the difficulties of independent operation in Japan's competitive animation sector, where securing funding without compromising creative control remains ongoing.^[5]

Creative philosophy

Influences from Studio Ghibli

Studio Ponoc was established in 2015 by Yoshiaki Nishimura, a former producer at Studio Ghibli, along with a significant number of Ghibli alumni, including director Hiromasa Yonebayashi, who brought their accumulated expertise in crafting character-driven narratives centered on young protagonists navigating fantastical worlds.^[19]^[28] This influx of talent from Ghibli ensured that Ponoc inherited a deep well of knowledge in portraying emotional depth and personal growth through animation, allowing the studio to maintain a focus on stories that resonate with both children and adults.^[6] Thematically, Ponoc's works echo Ghibli's emphasis on fantasy elements infused with childhood wonder, such as the exploration of imagination and the interplay between reality and make-believe, while incorporating modern adaptations like integrated digital effects to enhance visual storytelling.^[3]^[6] Technically, Ponoc draws directly from Ghibli's refined hand-drawn animation techniques, prioritizing cel-style 2D methods to convey nuanced character emotions and fluid movement, while judiciously incorporating computer-generated imagery for backgrounds and effects rather than relying on full CGI to preserve an organic feel.^[19]^[7] This approach refines Ghibli's traditional pipeline, emphasizing the expressive power of manual drawing honed over years of collaboration at the predecessor studio.^[6] In differentiating itself, Ponoc positions as a sustainable evolution of Ghibli's legacy—often described as its spiritual successor—by adopting practices that enable consistent output and innovation, such as proprietary tools like Houdoo software for efficient 2D production, addressing Ghibli's historical production hiatuses while fully embracing its foundational influences.^[28]^[3]^[6]

Production approach

Studio Ponoc's storytelling style centers on original narratives or adaptations that prioritize emotional resonance, targeting family audiences while incorporating subtle social commentary on themes like loss, imagination, and human connections.^[6]^[29] The studio aims to create works that accompany children through challenges, fostering a sense of solidarity without overt moralizing, as articulated by founder Yoshiaki Nishimura: "Creating a work that makes a child feel like, ‘Oh, they are on my side,’ is one of the things I was trying to accomplish."^[6] This approach draws from universal motifs, such as the interplay between reality and fantasy, to evoke healing and promote peaceful perspectives for viewers of all ages.^[29] In animation techniques, Ponoc employs a hybrid method rooted in traditional hand-drawn 2D processes, augmented by minimal 3D elements primarily for backgrounds and complex sequences like outer space or dynamic effects, comprising about 10-15% of a production.^[7] The studio emphasizes fluid character movements to convey emotional depth and meticulously detailed environments that enhance immersion, while adhering to hand-drawn limitations for authentic expression.^[6] Innovations in lighting and shading, such as light diffraction for added volume and texture, are integrated to deepen psychological nuance without compromising the hand-painted aesthetic, as Nishimura noted: "If we could control or work with shadow and lighting more, then we could show more psychological and deeper aspects of the characters."^[7]^[29] Project selection at Ponoc is deliberate and restrained, focusing on high quality and artistic integrity, supplemented by short films that allow for creative experimentation.^[19] This limited output enables thorough development, starting from detailed treatments and collaborative storyboarding divided into manageable segments for iterative refinement.^[7] Adaptations are chosen for their thematic alignment with self-reliance and wonder, while shorts under initiatives like Ponoc Short Films Theatre explore diverse directorial voices.^[19]^[30] To innovate, Ponoc incorporates international talent through collaborations, such as partnering with the French studio Les Films du Poisson Rouge for advanced shading tools like Houdoo software, which blends 2D and 3D effects to push expressive boundaries.^[7]^[6] Additionally, the studio has expanded its global reach via streaming distribution, including a multi-film partnership with Netflix for worldwide accessibility starting in 2024.^[31] For sustainability, Ponoc invests in staff well-being through comprehensive training and support programs, such as the Ponoc's Principles of Animation Program (PPAP), a year-long paid initiative that provides full social insurance and professional development to nurture animators and address industry shortages.^[12]^[24] This approach fosters long-term growth by emphasizing skill-building in character expression and production processes, enabling a stable workforce for sustained high-quality output.^[12]

Works

Feature films

Studio Ponoc's debut feature film, Mary and the Witch's Flower, was directed by Hiromasa Yonebayashi and released in Japan on July 8, 2017.^[13] The film adapts Mary Stewart's 1971 children's novel The Little Broomstick, reimagining its story for animation.^[32] In the narrative, a young girl named Mary discovers a mysterious flower in the woods that grants her magical powers for one night, leading her—guided by a black cat named Tib—to a hidden witches' school called Endor College, where she uncovers secrets and faces perilous experiments.^[13] Produced in collaboration with British distributor Vertical Entertainment and North American rights holder GKIDS, the film marked Ponoc's entry into international co-productions to broaden its global reach.^[33] It achieved commercial success in Japan, grossing approximately ¥3.2 billion (about $27.6 million) domestically and $42.2 million worldwide.^[34] Ponoc's second feature, The Imaginary, directed by Yoshiyuki Momose, premiered in Japanese theaters on December 15, 2023, before its exclusive global streaming release on Netflix on July 5, 2024.^[35] Adapted from A.F. Harrold's 2014 novel illustrated by Emily Gravett, the story follows young Amanda, who copes with her father's death by playing with her imaginary friend Rudger in their home's attic; when Rudger ventures into the wider world of imaginaries, he encounters threats from forgotten or malevolent creations that blur the lines between reality and fantasy.^[36] The production involved a partnership with Netflix for worldwide distribution, emphasizing Ponoc's strategy of leveraging streaming platforms for broader accessibility beyond traditional theatrical markets.^[35] In its Japanese theatrical run, the film earned 68,169,730 yen (about $478,300) in its opening three days, demonstrating initial performance in its home market.^[37]

Short films and anthologies

Studio Ponoc has produced a limited but notable body of short films and anthologies, emphasizing experimental storytelling and thematic depth within constrained formats. These works serve as platforms for emerging directors and narrative ideas, often exploring human resilience and environmental concerns through animation. The studio's first major anthology, Modest Heroes (2018), is a collection of three original short films, each directed by a different filmmaker and compiled for theatrical release. The segments include Kanini & Kanino, directed by Hiromasa Yonebayashi, which follows two young brothers in an underwater survival adventure after a shipwreck; Life Ain't Gonna Lose, directed by Yoshiyuki Momose, depicting a boy's humorous yet perilous journey managing his severe allergies; and Invisible, directed by Hiroyasu Ishida, centering on a socially isolated teenager who discovers a hidden companion. This project marked Ponoc's debut in shorts, showcasing diverse animation styles and personal tales of heroism. In 2021, Ponoc released Tomorrow's Leaves, a short film directed by Yoshiyuki Momose. This 8-minute-27-second piece portrays a world where messages are carried by leaves, but a family notices them fading quickly due to environmental issues, prompting themes of hope, renewal, and Olympic values. Commissioned by the Olympic Foundation for Culture and Heritage to raise awareness about climate change in commemoration of the Tokyo 2020 Olympics, the film highlights Ponoc's commitment to socially relevant narratives.^[38]^[39] These short films function as testing grounds for directors to refine their visions and for the studio to experiment with themes that may inform future features, allowing Ponoc to build creative momentum without the scope of full-length productions.

Commercials

Studio Ponoc's entry into commercial animation came shortly after its founding in 2015, with its debut project being a television advertisement for JR West's summer campaign titled Summer Train!. This 15-second spot, directed by Yoshiyuki Momose and featuring music by Yugo Kanno, depicts a family embarking on a joyful rail journey through scenic landscapes, blending hand-drawn whimsy with themes of adventure and discovery to promote travel by train. Produced under Yoshiaki Nishimura, it showcased the studio's ability to craft enchanting, Ghibli-inspired visuals in a concise format, marking Ponoc's first independent work and demonstrating its technical prowess in fluid animation and vibrant character design.^[40]^[41] The studio has continued to apply its high-quality 2D animation techniques to promotional projects, elevating everyday advertising through artistic storytelling and detailed world-building that serve as effective portfolio pieces for attracting larger commissions. These commercials highlight Ponoc's commitment to hand-crafted aesthetics, often incorporating fantastical elements to engage audiences beyond mere product promotion, while maintaining a focus on emotional resonance and visual beauty.

Reception and impact

Critical reception

Studio Ponoc's debut feature, Mary and the Witch's Flower (2017), was widely praised by critics for its enchanting visuals and whimsical charm, earning an 89% approval rating on Rotten Tomatoes based on 70 reviews.^[42] Reviewers highlighted the film's hand-drawn animation and gentle storytelling, with The Guardian describing it as a "giddy delight" that evokes the spirit of Studio Ghibli films like Kiki's Delivery Service.^[43] However, some critiques noted its familiarity to Ghibli's style, suggesting it leaned too heavily on established tropes without sufficient innovation. The studio's anthology Modest Heroes (2018), comprising three short films, received acclaim for its stylistic diversity and heartfelt exploration of everyday heroism, achieving an 87% Tomatometer score from a smaller pool of four reviews.^[44] Critics appreciated the varied animation techniques across segments—ranging from aquatic adventures to tales of invisibility—and the anthology's focus on subtle emotional narratives suitable for all ages.^[45] Birth.Movies.Death. called it "solid from start to finish," emphasizing how the shorts collectively showcase Ponoc's versatility beyond feature-length works.^[46] The Imaginary (2023), Ponoc's second feature, garnered strong international praise for its emotional depth and imaginative world-building, securing a 91% Rotten Tomatoes score from 81 critics with an average rating of 7.4/10.^[47] The film's blend of fantasy peril and themes of loss and companionship was lauded, with Variety noting its continuation of Ghibli-trained creators' lively traditions in a visually stunning package.^[48] The Guardian described it as an "exquisitely drawn anime" reminiscent of Ghibli, while acknowledging its darker tones as a fresh evolution.^[49] Some reviewers, like IndieWire, critiqued its narrative as occasionally derivative, struggling to fully escape Ghibli's shadow despite innovative streaming-era accessibility via Netflix.^[50] Overall, Ponoc's works have positioned the studio as a natural successor to Studio Ghibli, with critics increasingly recognizing its independent voice amid growing global acclaim, particularly through Netflix distribution that broadens reach beyond Japan.^[28] Japanese outlets have appreciated this autonomy, viewing Ponoc's output as a vital continuation of high-quality hand-drawn animation in a digital-dominated industry.^[16]

Awards and recognition

Studio Ponoc's films have garnered nominations and wins at prestigious animation awards, reflecting the studio's high standards in storytelling and visual artistry. The studio's debut feature, Mary and the Witch's Flower (2017), achieved significant recognition, including a nomination for Animation of the Year at the 41st Japan Academy Film Prize.^[51] It also earned five nominations at the 45th Annie Awards, among them Best Animated Feature - Independent, Best General Audience Animated Feature, and Best Storyboarding in an Animated Feature Production. The 2018 anthology Modest Heroes received acclaim for its innovative blend of short stories, contributing to Studio Ponoc's growing reputation in the industry, though it did not secure major award wins. The Imaginary (2023), the studio's second feature film, was nominated for the Cristal for Feature Film at the 2024 Annecy International Animation Film Festival, where it competed in the official selection alongside other international entries.^[52] The film also won Best Animation at the 2024 Asian Academy Creative Awards Grand Final.^[53] Founder Yoshiaki Nishimura's leadership has been instrumental in these achievements, building on his prior Academy Award nominations for producing The Tale of the Princess Kaguya (2013) and When Marnie Was There (2014), which underscore his ongoing influence in animation production.

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Rating 87% (4) Two young crab persons journey to find their father. A young boy struggles with an egg allergy. An office worker is invisible to everyone else.
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[53]
2024 Grand Final Winners - Asian Academy Creative Awards
The Asian Academy Creative Awards 2025, Asia-Pacific's most prestigious celebration of creative excellence. National Winners will be revealed online on 30 ...