If one approaches "The Boy and the Heron" expecting a conventional narrative with clear logic, plot development, and climax, where each scene plays a strict role in the story, disappointment may ensue. Miyazaki doesn't create films in this manner. However, understanding that Miyazaki doesn't work from a predetermined plot, but rather draws individual scenes from his impressions to capture moments, and then attempts to connect these vignettes, the film's logic becomes more comprehensible. There's no rigid logical narrative here; each scene is a mini-film in itself, with consecutive scenes sometimes contradicting each other. For instance, the grandfather first sends his grandson to be eaten by parrots, then offers him rulership. One can view this work as a dream, where storylines are surrealistic and succeed each other without apparent logic, each valuable in its own right as a separate enigma. This film reminds me of Tarkovsky's "Mirror," which also features disjointed scenes connected without clear logic. Both films are autobiographical, surrealistic, and enigmatic. Perhaps individuals like Tarkovsky would understand Miyazaki's "The Boy and the Heron" and recognize in it their own worlds, inaccessible to the average viewer. On the other hand, should we attempt to analyze this "dream" if it's merely a stream of consciousness encased in beautiful animation? The film's value lies in its uniqueness and its ability to provoke contemplation about reality, the world of dreams, and the human soul. "The Boy and the Heron" is not mere entertainment but an invitation to reflection and contemplation. It offers viewers a unique experience that transcends ordinary film-watching, encouraging them to ponder the boundary between wakefulness and dreaming, reality and imagination. While it may perplex those seeking traditional storytelling, it rewards those open to its dreamlike flow with a rich tapestry of visual poetry and philosophical musings.