Tōru Hara also became a significant member in the development of the company, and contributed to its promotional ventures. His statement on the studio's conception also gives a rare peak into the idea behind naming it Ghibli. It reads: "The 'Ghibli' of the 'Studio Ghibli' company name is derived from a hot wind that blows in the desert. [...] I should probably explain that the name 'Ghibli' is the antithesis of the mass production that is known as the anime boom, which is a 'cool wind that blows in the desert.' For Castle In The Sky, which will be the first film by 'Ghibli,' their warmest wish is to be able to include an awakening breath of warm 'Ghibli' wind into the cold world of anime. (Hara 1996, 79)."

Animation Style

The appeal of all of the Studio Ghibli films lies in its distinct, thorough attention to detail. Their creations are instantly distinguished because of their vivid hand-drawn animation. The meticulousness with which the production house has marked their hand-drawn techniques posit a certain directness to the world-building. The sky, the sea and the trees; along with the interiors of the houses hold an ease for the viewer to transmit themselves into that world. So, when these stories even tend to enter the fantastical, there's always an organic reaction. It is a mix of trust and curiosity, where the animation paves the way for the viewer to ask questions, and challenge them once the thinly laced layer of reality is pulled over.

In an era of digital and CGI-dominated animation, the hand-painted style of Ghibli's works over the years has created a unique identity for the production company. The process is laborious and requires time, but Miyazaki also remains its champion. In NHK's documentary series NHS Special: Hayao Miyazaki- The One Who Never Ends, Miyazaki shares his take on AI-generated animation and adds, "Whoever creates this stuff has no idea what pain is whatsoever I am utterly disgusted. If you really want to make creepy stuff, you can go ahead and do it. I would never wish to incorporate this technology into my work at all. I strongly feel that this is an insult to life itself."

Interestingly, it was Miyazaki's own son Goro who made the first all-CGI animated movie with Studio Ghibli, which was Earwig and the Witch. He defended the step, calling it necessary, and said, "For Studio Ghibli, it’s important for us to constantly try new things, whether it goes down well or not,” said the younger Miyazaki. “It’s not enough just to carry on the legacy of what they have built because it would only be a copy and an inferior version of that even. And, for me, that was to try the first CG movie at the studio. I’ve seen hand-drawn animators, who have huge talent and have done great work outside of Studio Ghibli, [struggle] because of the pressure. So CG was a good way for us and we made this without the huge pressure," he told Indiewire in a 2021 interview.

Marrying Modern Animation with Tradition

Studio Ghibli's films often blend traditional Japanese culture with universal themes of nature, community, and coexistence. The opening shots of My Neighbour Totoro--an overloaded lorry cutting through farmlands, a temple under a tree, water sparkling in a stream or gushing from a hand pump--instantly transport you to a world where everything is nice.

But the purpose here is not always just to invoke nostalgia but also to offer a commentary and a comparative study between the serene countryside and the exploitative city life.

Films such as Princess Mononoke and Spirited Away explore the deep connection between humans and nature, a theme rooted in Shinto beliefs. These films often depict villages as places where humans and spirits coexist, reflecting traditional Japanese views of nature as both nurturing and powerful. Princess Mononoke portrays a mythical village life set against the backdrop of an impending industrial revolution, highlighting the conflict between the preservation of nature and the advancement of technology.

Even Howl's Moving castle features a European-inspired setting that combines quaint, traditional villages with magical elements and advanced technology. This blend of old-world charm and modern invention creates a unique and immersive world that feels both nostalgic and forward-looking. The moving castle itself, with its patchwork construction and steam-powered mobility, symbolizes this fusion of the past and the future, a recurrent theme in Studio Ghibli pieces.

The Gems of Ghibli

Castle in the Sky
_{(Tenkū no shiro Rapyuta, 1986)}

Castle in the Sky was the first animated film by Studio Ghibli. Did you know that the film was inspired by Miyazaki's trip to Wales in early 1985? There, he was fascinated with the architecture of the region. The coal miner's strikes and protests around that time also left a lasting impact on the young artist's mind. The world of Laputa in Castle in the Sky in one that integrates fantasy with a capsule of bitter realism. It does not intimidate; it only allows a sense of concern.

Grave of the Fireflies
_{(Hotaru no haka, 1988)}

"Why must fireflies die so young?" Inarguably the saddest film in the Studio Ghibli canon, Isao Takahata's Grave of the Fireflies is one of the most emotionally shattering portraits of the horrors of war. It follows two children who desperately try to survive in a world that makes little sense. It will break your heart into a million pieces. 

My Neighbor Totoro
_{(Tonari no Totoro, 1988)}

Counted among the most loved creations in all of Studio Ghibli's films, My Neighbor Totoro immortalized itself in the studio's official logo.

It all builds up to this one sequence in the film where Totoro is also waiting with the two sisters in the forest when it begins to rain. Satsuki gives Totoro the extra umbrella she has carried with her. He takes it, and the sound of raindrops on the top of the umbrella ignites a sense of intrigue for him.

The world seems to stop at that moment of stillness, as Satsuki tries to process what happened at that moment. Neither she, nor us- the viewer, have any concrete answers.

I remember watching My Neighbour Totoro many years ago and thinking about this huge rabbit-like animal. Who is Totoro? Do I see him as a friend? It is that delicate, otherworldly creature who would be ever-present in times of need. Years later, I watched the film and Totoro still feels the same, standing as a silent companion and disappearing after a while. Totoro is like a mirror, a reflection of childlike giddiness and earnestness. One will always find Totoro, like an indescribable, porous feeling, staring right back at them and smiling.

Kiki’s Delivery Service
_{(Majo no takkyūbin, 1989)}

Whenever I begin to feel anxious about something, or when self-doubt emerges, I make it a point to watch Kiki’s Delivery Service. It is one of those coming-of-age films that emerge with new meaning and infinite wisdom with every new watch.

Kiki’s Delivery Service is not just about a young girl who explores an unfamiliar terrain, but also about the value one finds with their work, about finding value and perspective. To find your place in the world is a constant, lonely process but one must find joy and a sense of purpose in it. Kiki’s Delivery Service renders this message with wonderful sincerity and grace.

Only Yesterday
_{(Omohide poro poro, 1991)}

Based on the 1982 manga of the same title, Isao Takahata's Only Yesterday is a tale of emotional maturity and nostalgia. It revolves around 27-year-old Taeko Okajima and her extended flashbacks about her younger, pre-adolescent self. With societal expectations looming large, memories of childhood provide a subtext of how differently things could have panned out for her. 

Porco Rosso
_{(Kurenai no buta, 1992)}

Did you know that Porco Rosso was initially planned as an in-flight movie for Japan Airlines that would be around 40 minutes. Miyazaki eventually came down to making it into a feature length film. This meant the film went into a mature direction, and the film also became his first to have found a release in France. 

Pom Poko
_{(Heisei tanuki gassen ponpoko, 1994)}

An Isao Takahata movie is always distinguished by its strong emotional maturity. Pom Poko was no exception. Revolving around a community of tanukis who have shape-shifting capabilities, this film deals with the compromises made for the profits of industrialization. But can civilization progress with the depletion of heritage? The tanukis shall lead the way.

Whisper of the Heart
_{(Mimi wo sumaseba, 1995)}

Yoshifumi Kondō only made one film with Studio Ghibli, Whisper of the Heart. He had worked as an animation director in several other Ghibli films including Kiki’s Delivery Service and Only Yesterday. Whispers of the Heart revolves around the young Shizuku who aspires to be a writer. Yet, an unusual incident takes her on a new search for a boy who hides a connection. Quite underrated in the Studio Ghibli canon, Whispers of the Heart still feels fresh and evocative in its slice-of-life storytelling.

Princess Mononoke
_{(Mononoke-hime, 1997)}

Princess Mononoke is certainly the film that charted a new trajectory for Studio Ghibli, and its creator Hayao Miyazaki. This is a dark and violent movie that follows the adventures of Ashitaka, who has been cursed by a tatarigami, a demon boar god, Nago. Ashitaka must now go forth in search to heal the evil that has scarred him. He then witness the environmental degradation and gets embroiled in a war between the two worlds. Provocative and by turns grotesque, Princess Mononoke remains one of the most vital works of the production house. 

My Neighbors the Yamadas
_{(Hōhokekyo tonari no Yamada-kun, 1999)}

Isao Takahata's comedy marked a significant departure from the style of the Studio Ghibli films, as My Neighbors the Yamadas was stylized as a comic strip rather than a free-flowing animation. Based on the newspaper comic strip, the film offers a beautiful vignette-like quality to the mundane moments of the Yamada family. It is akin to the effect of a perfectly composed haiku.

Spirited Away
_{(Sen to Chihiro no kamikakushi, 2001)}

Does Billie Eilish's Chihiro from her new album Hit Me Hard and Soft remind you of anyone? Eilish has acknowledged that she is a big fan of Spirited Away, the protagonist of which is named Chihiro.

The film that skyrocketed Miyazaki and Studio Ghibli's name across the world was Spirited Away. Chihiro's journey accompanies spirits. There's Haku, Yubaba, Lin and even Oshirishama. All of them were Miyazaki's original creations, with much inspiration from Shinto iconography. Immersive in design and stunningly vivid in its world-building, Spirited Away changed the animation paradigm forever. 

The Cat Returns
_{(Neko no ongaeshi, 2002)}

Right after the dominating success of Spirited Away, came The Cat Returns. For Haru, who is now forced into marrying the Prince of the Cat Kingdom, trying to find a way out is the only goal now. Will she be able to get out? Not unless she stops giving too much importance of what other people think of her, and focus on doing her work with a confrontational mindset.

Howl’s Moving Castle
_{(Hauru no ugoku shiro, 2004)}

Howl’s Moving Castle is perhaps the first time when I discovered how Miyazaki's films juxtapose a tapestry of fantasy with images of war and human destruction. This film delights even as it confronts gloomy images of cities being burnt into ashes.

Sophie's curse--wherein she turns into an old woman--is also fascinatingly told. I kept wondering why the spell broke at some points yet she didn't seem to register the change. After a rewatch, this disconnect seemed to tie up in Sophie's issues with self-worth. Howl slowly manages to see past that exterior image, as both of them learn and outgrow parts of themselves first.

Tales from Earthsea
_{(Gedo senki, 2006)}

Certainly, the most controversial (and weakest) feature to have come out of Studio Ghibli is Tales of Earthsea, directed by Hayao Miyazaki’s son Gorō Miyazaki. Adapted from Ursula K. Le Guin, the release had already turned into tabloid fodder for the beef between father and son. Gorō had found himself in a difficult position when Hayao decided to take another temporary retirement. Reportedly, he even refused to talk to his son during the making of the film and Gorō had to face the criticism when the film opened to less enthusiastic response.

Ponyo
_{(Gake no ue no Ponyo, 2008)}

Ponyo is perhaps Miyazaki at his most optimistic. Yet, Ponyo also has the most vivid apocalyptic imagery in any of the director's works. Did you know that the characters in the film were inspired by the staff members who worked with Miyazaki in creating the film?

In an interview with LA Weekly, Miyazaki revealed, "Our staff who didn’t have children for a long time finally started having children. For example, [the character of] Fujimoto, Ponyo’s father in the film, is really [animation director] Katsuya Kondo. He’s also having difficulties dealing with his daughter. He is being treated like a mule or a pony. He’s very restless, just like Fujimoto in the way he acts. That’s the kind of atmosphere that brought about Ponyo.”

The Secret World of Arrietty
_{(Karigurashi no Areitti, 2010)}

For his feature film debut with Studio Ghibli, Hiromasa Yonebayashi adapted The Borrowers by writer Mary Norton. As is constant with almost all films from the production house, The Secret World of Arrietty tries to bridge the gap between two worlds. Arrietty is a young, thumb-sized Borrower who forms a bond with Shawn. Thus begins a journey of survival which dares to subvert the trademark Ghibli conclusions for a decidedly tragic and ambiguous one.

From up on Poppy Hill
_{(Kokuriko-zaka kara, 2011)}

Did you know the film's production was postponed because of the major earthquake that hit Japan around 2011? Set in 1963, this feature tells the story situated at a specific point of transition, when Japan was gearing up for the Olympics. From up on Poppy Hill navigates themes of history and national identity, directing the viewers towards the notion that the past should not be obliterated to prioritize socio-economic progress.

The Wind Rises
_{(Kaze tachinu, 2013)}

The Wind Rises is certainly the only film in Miyazaki's oeuvre of work that is not a fantasy. But the film garnered controversy for its political standpoint, in presenting a tumultuous chapter in Japan's history in nostalgic light.

To this, Miyazaki told Animation World Network, "In one way, I predicted it. But in another way, I thought the controversy and discussions would go much deeper than the ones I see today. I thought about how we should face these chaotic situations we face right now, how we should live in such difficult times. I thought the discussions would be deeper in that sense. I am against the use of nuclear power. But when I saw the press conference with the engineers working on the [Fukushima] power plants, answering questions, I saw the same type of purity of their soul that I portrayed in Jiro Horikoshi in the film. The problems of our civilization are so difficult that we can’t only put an “X” in a circle and say “Yes” or 'No.'"

The Tale of the Princess Kaguya
_{(Kaguya-hime no monogatari, 2013)}

The Tale of Princess Kaguya was Isao Takahata's final work after the director passed away in 2018. Kaguya's journey is a fairytale wrapped in pragmatic concepts of the limits on women, and their beauty. She finds luxury but is inadvertently isolated. In an interview with Scifi now, Takahata shed light on Kaguya's interpretation and said, "I don't think it's any particular interest in nature, but the fact that she grew up surrounded by nature is very significant, and really that's what we have- the world around us is full of nature."

When Marnie Was There
_{(Omoide no Marnie, 2014)}

Hirosima Yonebayashi's When Marnie Was There is another entrant into the deceptively gentle encounter between the human and nonhuman entities. Stuck with me, years after watching this film, is the gentle queer-coded relationship that develops between Anna and Marnie. But there's more to this relation that effectively dismisses this assumption by the end. Did I forsee it? No. Do I still love it? Yes!

Earwig and the Witch
_{(Āya to Majo, 2020)}

Gorō Miyazaki's Earwig and the Witch was a co-produced by Studio Ghibli, and was also the first CG film from the production studio. In an interview with The Verge, Gorō said that he didn't feel 'much pressure' for this decision from his father because by the time he had started with Earwig, Hayao Miyazaki was busy with his own film. "So I was able to kind of hide behind that and not feel much pressure from the outside. It was like me hiding in the garage without people noticing what I was doing," he said.

The Boy And The Heron

The Boy and The Heron, which reignited and directed the attention of cinema lovers all across the world, was an unexpected surprise. Miyazaki had already declared that The Wind Rises was going to be his last film as a director. Nobody could anticipate that Miyazaki would return after nearly a decade with a feature (although the studio did hint that it was working on a new film during its annual New Year's message back in 2020), but it went on to have its World Premiere at the Toronto International Film Festival last year as the opening night film. Reports from festival attendees also revealed that tickets for The Boy and the Heron were being offered at staggering prices, exceeding $300. 

The anticipation was sky high, even more so because Studio Ghibli released The Boy and the Heron in Japan without any promotion. That meant no descriptions about the film, no marketing materials, or even a picture to accompany the release. Audiences were thus encouraged to discover the film on their own times, completely, without any preconceived notions. At the Toronto Film Festival, Miyazaki himself was not present for the premiere. 

It was Academy Award-winning filmmaker Guillermo del Toro, and a longtime Miyazaki fan, who surprised the crowd at the World Premiere and introduced the film, saying: "Miyazaki, in my estimation, is the greatest director of animation ever, and he has made his films as full as dialogues and questions as he is. These are not easy films, but these are films that portray him so intimately, that you feel you’re having a conversation with him. And they are paradoxical because he understands that beauty cannot exist without horror, and delicacy cannot exist without brutality. He repeats motifs over and over again: flying, hope, despair, the power of innocence, the great of innocence. Each of his parables, because they become parables, are full of belief in humanity and full of heartache in humanity. I believe the film we will watch tonight will be no exception.”

This paradox is at the centre of The Boy and The Heron, which tells the story of Mahito, a young 12-year-old boy, who struggles to settle in a new town after the death of his mother. Over the course of this film, Mahito will be confronted time and again by a heron, who will lure him into a mysterious new world, a creation of his great uncle. He also meets the kind and gracious Lady Himi, who turns out to be the younger version of his own mother. Time doesn't work in a linear fashion in this wondrous adventure, as Mahito will learn that it is his great uncle who has chosen him to be his successor. "Create a world where prevails generosity, peace and beauty," he says. Will Mahito oblige? Or will he refuse? A lot rests on this decision.

This decision is also an inquiry for Miyazaki through his art. With The Boy and The Heron, Miyazaki is infusing his art with one last chance. As Mahito navigates and finds new revelations into this world, he also realizes that it is a trap. Mahito's gradual shift of perspective, his willingness to gather information, to challenge himself for the sake of this trajectory is his ultimate power. The Heron leads Mahito, but proves to be contradictory and helpful, conniving yet a loyal ally. Mahito tags along, traversing each new fantasy with a tinge of apprehension. Mahito's journey, in mirroring that of Miyazaki, is one of impressions and experieneces. One must wonder, but one must also endure. And so, Mahito endures. To witness Mahito's journey is akin to seeing Miyazaki, an artist coming to terms with the world through his imagination.

Did you know that with The Boy and the Heron, Miyazaki took inspiration and paid tribute to the creators of Studio Ghibli? In an interview with EW in 2023, Miyazaki's longtime collaborator Toshio Suzuki said, “In Miyazaki's mind, the old wizard character is Isao Takahata, Miyazaki’s senior animator who actually discovered his talent."

Isao Takahata is the director of stunning films such as Grave of the Fireflies and The Tale of Princess Kaguya. Suzuki also added, "Because this is semi-autobiographical, the protagonist is himself and there are all these other characters that appear in the film who are based on people he has worked with over the years. He wanted to pay tribute to them and express his gratitude for their support throughout his career. So that was the big aim for him in making this film.” 

Text: Santanu Das
Design: Soumya Srivastava