![]() This truth is plentifully imprinted in each ‘Ghiblian’ feature, as characters encounter inner anguish and external hardship: Shizuku’s feeling of failure in Whispers of the Heart Ashitaka’s liminal, ungrounded position amid a raging war in Princess Mononoke Chihiro’s fight to save her parents from an existence as pigs in Spirited Away. The cinematic technicians of Studio Ghibli – Miyazaki, Takahata, Yonebayashi, Kondō, to name a few – understand that crisis is as much a part of the human experience as accomplishment and joy. Rather, they grapple directly with adversity and the characters struggles. Studio Ghibli films never obscure the difficulties of life. Sophie’s unexpected transmutation into a 90-year-old woman in Howl’s Moving Castle explores the importance of freeing oneself of self-doubt. The many allusions to fairy tales in Whisper of the Heart collapse the distinctions between idealised romance in fairy tales and the experience of love in the real world. ![]() In Spirited Away, the ‘spirit world’ allegorises the foreign and tumultuous nature of growing up. ![]() ![]() Often, the fantastical elements expand and illuminate the human experience. However, it’s the life-affirming, humanist sensibility of the films that is most essential to Ghibli’s lovableness, the foundation from which all its other great cinematic qualities can sprout.Īlthough the films are filled with otherworldly environments and beings – No Face in Spirited Away, Totoro in My Neighbour Totoro, Baron in The Cat Returns – the central pull of the ‘Ghiblian’ film is to tell stories of human tribulation and challenge, of self-exploration and triumph. Studio Ghibli films are beloved for many reasons: the strange and fantastical creatures, the richly animated worlds, the oddball humour.
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