Gwenn Germain’s 2015 animated film ‘Those of the Treetops and Heaven’ presents a visually stunning journey through an arboreal world unlike any other. The narrative follows a young boy living peacefully in a village nestled within the canopy of a colossal tree. When he accidentally tumbles into the mysterious depths of the forest below, he encounters two remarkable indigenous beings who become his unlikely guides and protectors. Together, they embark on an adventure that challenges his understanding of home, belonging, and the interconnected nature of their world. This whimsical yet profound tale of discovery and companionship forms the emotional foundation upon which the entire film rests.
The film received considerable acclaim within European animation circles, appreciated for its distinctive artistic vision and thoughtful exploration of environmental themes. Critics and audiences alike praised Germain’s imaginative world-building and the film’s gentle, philosophical approach to storytelling. While it didn’t achieve mainstream blockbuster status, the film cultivated a devoted following among animation enthusiasts and those seeking narratives that transcend conventional entertainment. The work resonated particularly strongly with viewers who appreciated its ecological consciousness and celebration of indigenous perspectives—themes that feel increasingly relevant in contemporary discourse.
At the heart of this enchanting world lies Joe Hisaishi’s magnificent orchestral score, a masterclass in film music composition that elevates the film to transcendent heights. Hisaishi, renowned for his collaborations with Studio Ghibli and Hayao Miyazaki, brings his signature approach to this European production, creating a soundscape that feels both culturally specific and universally moving. The composer’s understanding of how music can transform visual imagery into emotional experience shines brilliantly throughout the film.
Hisaishi’s compositional strategy for ‘Those of the Treetops and Heaven’ balances intimate, delicate passages with sweeping orchestral movements that mirror the film’s journey from the civilised canopy village to the wild, untamed forest below. His themes for the village are characterized by warm, pastoral melodies often featuring traditional string instruments and gentle woodwinds, evoking a sense of safety and belonging. These motifs employ simple, memorable phrases that communicate the boy’s connection to his home without requiring dialogue.
As the narrative descends into the forest depths, Hisaishi’s orchestration becomes progressively more adventurous and experimental. The score introduces unconventional instruments and compositional techniques that reflect the strangeness and wonder of this new realm. The indigenous beings receive their own thematic material—haunting, somewhat ethereal melodies that suggest both otherness and wisdom. Rather than portraying them as exotic curiosities, Hisaishi’s music presents them with dignity and depth, their themes carrying equal weight to the protagonist’s.
The composer’s genius manifests most powerfully in how the music negotiates the relationship between human and natural worlds. Hisaishi frequently weaves natural sounds—bird calls, rustling leaves, flowing water—into his orchestral fabric, creating an immersive sonic environment where the boundary between music and environment becomes beautifully blurred. This integration reflects the film’s thematic core: the fundamental harmony that exists when humans respect and engage authentically with nature.
Ultimately, Hisaishi’s score serves as the film’s emotional backbone, guiding viewers through a transformative journey that celebrates wonder, friendship, and our place within the natural world.